What role do art and aesthetics play in unravelling the theological problem of evil? Philip Tallon constructs an aesthetic theodicy through a fascinating examination of Christian aesthetics, ranging from the writings of Augustine to contemporary philosophy.

This engrossing volume studies the poetics of evil in early modern English culture, reconciling the Renaissance belief that literature should uphold morality with the compelling and attractive representations of evil throughout the period’s literature. The chapters explore a variety of texts, including Spenser’s Faerie Queene, Shakespeare’s Richard III, broadside ballads, and sermons, culminating in a new reading of Paradise Lost and a novel understanding of the dynamic interaction between aesthetics and theology in shaping seventeenth century Protestant piety. Through these discussions, the book introduces the concept of “sinister aesthetics”: artistic conventions that can make representations of the villainous, monstrous, or hellish pleasurable.

In Poetics of the Flesh Mayra Rivera offers poetic reflections on how we understand our carnal relationship to the world, at once spiritual, organic, and social. She connects conversations about corporeality in theology, political theory, and continental philosophy to show the relationship between the ways ancient Christian thinkers and modern Western philosophers conceive of the "body" and "flesh.” Her readings of the biblical writings of John and Paul as well as the work of Tertullian illustrate how Christian ideas of flesh influenced the works of Maurice Merleau-Ponty and Michel Foucault, and inform her readings of Judith Butler, Frantz Fanon, and others. Rivera also furthers developments in new materialism by exploring the intersections among bodies, material elements, social arrangements, and discourses through body and flesh. By painting a complex picture of bodies, and by developing an account of how the social materializes in flesh, Rivera provides a new way to understand gender and race.

In it, Aristotle offers an account of what he calls "poetry" (a term which in Greek literally means "making" and in this context includes drama - comedy, tragedy, and the satyr play - as well as lyric poetry and epic poetry). They are similar in the fact that they are all imitations but different in the three ways that Aristotle describes: 1. Differences in music rhythm, harmony, meter and melody. 2. Difference of goodness in the characters. 3. Difference in how the narrative is presented: telling a story or acting it out. In examining its "first principles," Aristotle finds two: 1) imitation and 2) genres and other concepts by which that of truth is applied/revealed in the poesis. His analysis of tragedy constitutes the core of the discussion. Although Aristotle's Poetics is universally acknowledged in the Western critical tradition, "almost every detail about his seminal work has aroused divergent opinions."

Milton, Evil and Literary History addresses the ways in which we read literary history according to quite specific images of growth, development, progression, flourishing and succession. Goodness has always been aligned with a life of expansion, creation, production and fruition, while evil is associated with the inert, non-relational, static and stagnant. These associations have also underpinned a distinction between good and evil notions of capitalism, where good exchange enables agents to enhance their living potential and is contrasted with the evils of a capitalist system that circulates without any reference to life or spirit. Such images of a ghostly and technical economy divorced from animating origin are both central to Milton's theology and poetry and to the theories of literary history through which Milton is read. Regarded as a radical precursor to Romanticism, Milton's poetry supposedly requires the release of his radical spiritual content from the fetters of received orthodoxy. This literary and historical imagery of releasing the radical spirit of a text from the dead weight of received tradition is, this book argues, the dominant doxa of historicism and one which a counter-reading of Milton ought to question.

One of Japan’s most renowned intellectuals, Motoori Norinaga (1730–1801) is perhaps best known for his notion of mono no aware, a detailed description of the workings of emotions as the precondition for the poetic act. As a poet and a theoretician of poetry, Norinaga had a keen eye for etymologies and other archaeological practices aimed at recovering the depth and richness of the Japanese language. This volume contains his major works on the Yamato region—the heartland of Japanese culture—including one of his most famous poetic diaries, The Sedge Hat Diary (Sugagasa no Nikki), translated into English here for the first time. Written in 1772 while Norinaga journeyed through Yamato and the Yoshino area, The Sedge Hat Diary was composed in the style of Heian prose and is interspersed with fifty-five poems. It offers important insights into Norinaga the poet, the scholar of ancient texts, the devout believer in Shinto deities, and the archaeologist searching for traces of ancient capitals, palaces, shrines, and imperial tombs of the pre-Nara period. In this piece Norinaga presents Yoshino as a "common poetic space" that readers must inhabit to develop the "common sense" that makes them live ethically in the poet’s ideal society. Norinaga’s ideal society is deeply imbued with the knowledge of poetry and the understanding of emotions as evidenced in the translation of Norinaga’s twenty-six songs on aware (pathos) also included here. The rest of the volume offers translations of several essays by the poet that shed further light on the places he visited in Yoshino and on the main topic of his scholarly interests: the sound of the uta (songs) from his beloved Yamato. An introductory essay on Norinaga’s poetics serves as a guide through the dense arguments he developed both practically in his poems and theoretically in his essays.

What is God doing about a world marked by conflict and division? What about a world in which our technologies promise great good but also threaten our existence? What is God doing in a world where the demands for accumulation and acquisition create division and despair? Can Christians hope to be of positive influence in a world that does not always support, reflect, or even understand Christian commitments? Christian ethics often raises such questions as these, and the possible answers vary widely. Paul's Letter to the Ephesians is a tremendous resource for exploring a faithful response to perhaps the toughest question of all: what is God doing about evil? The role of Christian ethics is to take seriously the challenge that, whatever God is doing, God calls us to participate in a distinctive task that embraces our own commitments and labors within the divine purpose. Ephesians says that God has taken the initiative to pursue that purpose and, remarkably, offers that we ourselves are part of the answer to the question, what is God doing about evil?