Continental philosophy underwent a ‘return to religion’ or a ‘theological turn’ in the late 20th century. And yet any conversation between continental philosophy and theology must begin by addressing the perceived distance between them: that one is concerned with destroying all normative, metaphysical order (continental philosophy’s task) and the other with preserving religious identity and community in the face of an increasingly secular society (theology’s task). Colby Dickinson argues in Continental Philosophy and Theology rather that perhaps such a tension is constitutive of the nature of order, thinking and representation which typically take dualistic forms and which might be rethought, though not necessarily abolished. Such a shift in perspective even allows one to contemplate this distance as not opting for one side over the other or by striking a middle ground, but as calling for a nondualistic theology that measures the complexity and inherently comparative nature of theological inquiry in order to realign theology’s relationship to continental philosophy entirely.

Victorian Art Criticism and the Woman Writer by John Paul M. Kanwit examines the development of specialized art commentary in a period when art education became a national concern in Britain. The explosion of Victorian visual culture--evident in the rapid expansion of galleries and museums, the technological innovations of which photography is only the most famous, the public debates over household design, and the high profile granted to such developments as the Aesthetic Movement--provided art critics unprecedented social power. Scholarship to date, however, has often been restricted to a narrow collection of male writers on art: John Ruskin, Walter Pater, William Morris, and Oscar Wilde. By including then-influential but now lesser-known critics such as Anna Jameson, Elizabeth Eastlake, and Emilia Dilke, and by focusing on critical debates rather than celebrated figures, Victorian Art Criticism and the Woman Writer refines our conception of when and how art criticism became a professional discipline in Britain. Jameson and Eastlake began to professionalize art criticism well before the 1860s, that is, before the date commonly ascribed to the professionalization of the discipline. Moreover, in concentrating on historical facts rather than legends about art, these women critics represent an alternative approach that developed the modern conception of art history. In a parallel development, the novelists under consideration--George Eliot, Charlotte Brontë, Anne Brontë, and Elizabeth Gaskell--read a wide range of Victorian art critics and used their lessons in key moments of spectatorship. This more inclusive view of Victorian art criticism provides key insights into Victorian literary and aesthetic culture. The women critics discussed in this book helped to fashion art criticism as itself a literary genre, something almost wholly ascribed to famous male critics.

This book aims to put modern continental philosophy, specifically the sub-fields of phenomenology, existentialism, hermeneutics, deconstruction, critical theory and genealogy, into conversation with the field of contemporary theology. Colby Dickinson demonstrates the way in which negative dialectics, or the negation of negation, may help us to grasp the thin (or non-existent) borders between continental philosophy and theology as the leading thinkers of both fields wrestle with their entrance into a new era. With the declining place of “the sacred” in the public sphere, we need to pay more attention than ever to how continental philosophy seems to be returning to distinctly theological roots. Through a genealogical mapping of 20th-century continental philosophers, Dickinson highlights the ever-present Judeo-Christian roots of modern Western philosophical thought. Opposing categories such as immanence/transcendence, finitude/infinitude, universal/particular, subject/object, are at the center of works by thinkers such as Agamben, Marion, Vattimo, Levinas, Latour, Caputo and Adorno. This book argues that utilizing a negative dialectic allows us to move beyond the apparent fixation with dichotomies present within those fields and begin to perform both philosophy and theology anew.

Continental philosophers of religion have been engaging with theological issues, concepts and questions for several decades, blurring the borders between the domains of philosophy and theology. Yet when Emmanuel Falque proclaims that both theologians and philosophers need not be afraid of crossing the Rubicon – the point of no return – between these often artificially separated disciplines, he scandalised both camps. Despite the scholarly reservations, the theological turn in French phenomenology has decisively happened. The challenge is now to interpret what this given fact of creative encounters between philosophy and theology means for these disciplines. In this collection, written by both theologians and philosophers, the question “Must we cross the Rubicon?” is central. However, rather than simply opposing or subscribing to Falque’s position, the individual chapters of this book interrogate and critically reflect on the relationship between theology and philosophy, offering novel perspectives and redrawing the outlines of their borderlands.

What is the future of Continental philosophy of religion? These forward-looking essays address the new thinkers and movements that have gained prominence since the generation of Derrida, Deleuze, Foucault, and Levinas and how they will reshape Continental philosophy of religion in the years to come. They look at the ways concepts such as liberation, sovereignty, and post-colonialism have engaged this new generation with political theology and the new pathways of thought that have opened in the wake of speculative realism and recent findings in neuroscience and evolutionary psychology. Readers will discover new directions in this challenging and important area of philosophical inquiry.

Continental philosophy of religion has been dominated for two decades by 'postsecular' and 'postmodern' thought. This title questions what comes after the postsecular and the postmodern. It argues that philosophy of religion must either liberate itself from theological norms or mutate into a different practice of thinking.

In the Arcades Project, Walter Benjamin writes that his work is “related to theology as blotting pad is related to ink. It is saturated with it.” For a thinker so decisive to critical literary, cultural, political, and aesthetic writings over the past half-century, Benjamin’s relationship to theological matters has been less observed than it should, even despite a variety of attempts over the last four decades to illuminate the theological elements latent within his eclectic and occasional writings. Such attempts, though undeniably crucial to comprehending his thought, remain in need of deepened systematic analysis. In bringing together some of the most renowned experts from both sides of the Atlantic, Walter Benjamin and Theology seeks to establish a new site from which to address both the issue of Benjamin’s relationship with theology and all the crucial aspects that Benjamin himself grappled with when addressing the field and operations of theological inquiry.