This book demonstrates the originality and coherence of Jonathan Edwards' philosophical theology using his dynamic reconception of reality as the interpretive key. The author argues that what underlies Edwards' writings is a radical shift from the traditional Western metaphysics of substance and form to a new conception of the world as a network of dispositions: active and abiding principles that possess reality apart from their manifestations in actions and events. Edwards' dispositional ontology enables him to restate the Augustinian-Calvinist tradition in theology in a strikingly modern philosophical framework. A prime example of Edwards' innovative reconstruction in philosophical theology is his conception of God as both eternal actuality and a disposition to repeat that actuality within God and also through creation. This view is a compelling alternative to the traditional Western doctrine of God as changeless actuality, on the one hand, and the recent process theologians' excessive stress on God's involvement in change, on the other. Edwards' achievement was that he saw dynamic movement as essential to God's own life without compromising the traditional Christian tenets of God's prior actuality and transcendence. The author of this volume also explicates the way in which Edwards' dynamic reconception of reality informs his theories of imagination, aesthetic perception, the knowledge of God, and the meaning of history. This expanded edition includes a new preface and a new appendix titled "Jonathan Edwards on Nature."

While interest in the relationship between theology and the arts is on the rise, there are very few resources for students and teachers, let alone a comprehensive text on the subject. This book fills that lacuna by providing an anthology of readings on theological aesthetics drawn from the first century to the present. A superb sourcebook, Theological Aesthetics brings together original texts that are relevant and timely to scholars today. Editor Gesa Elsbeth Thiessen has taken a careful, inclusive approach to the book, including articles and extracts that are diverse and ecumenical as well as representative of gender and ethnicity. The book is organized chronologically, and each historical period begins with commentary by Thiessen that sets the selections in context. These engaging readings range broadly over themes at the intersection of religion and the arts, including beauty and revelation, the vision of God, artistic and divine creation, God as artist, images of God, the interplay of the senses and the intellect, human imagination, mystical writings, meanings of signs and symbols, worship, liturgy, doxology, the relationship of word and image, icons and iconoclasm, the role of the arts in twentieth-century theology, and much more.

How can we use the experience of darkness to lift our spirits, challenge our hearts and minds and draw us closer into the heart of God?