Through a comparison of their aesthetics and hermeneutics, this book reveals that both Gadamer and Balthasar reject an autonomous, neutral, distanced starting point for interpretation. Instead, they advocate a dialogical model in which interpreters allow themselves to be engaged by the truth of the text or artwork at hand. Both thinkers use aesthetic categories to describe this model of interpretation (such as the neo-Platonic category of radiance) and both reflect a disclosure-concealment theory of truth. In recognizing that interpreters are part of an unfolding history and that the examination of historical texts cannot be done from a neutral standpoint, they both acknowledge that textual interpretation must contain the dimension of dialogue with the past truths. Significantly, Balthasar incorporates these aesthetic and hermeneutical categories into an explicitly Trinitarian salvation-history framework, which is absent in Gadamer's thought. This book concludes with the implications of an aesthetic hermeneutics for contemporary Roman Catholic theology and its dialogue with various schools of thought (philosophical and religious), arguing that the concrete, particular forms of Christianity as expressed in Roman Catholicism cannot be bracketed or evacuated by Catholic theologians in the interest of achieving consensus in religious matters. To the contrary, it is precisely in these forms that we believe that God's revelation takes place.

The work of the influential Jesuit theologian Hans Urs von Balthasar (1905–1988) has become a common point of reference in discussing the relationship of theology and the arts. However, the full significance of his theological aesthetics for both the emerging field of theology and the arts, as well as for interdisciplinary conversation with contemporary art and theory, remains to be unfolded. This book explores the ways in which Balthasar's theo-aesthetics, when taken together with his theological dramatics and theo-logic, yield a theologically informed phenomenology of the work of art with rich implications for contemporary theologies of art. By investigating the nature and disclosure of beauty and being through art, Balthasar's theological re-reading of Heidegger, his theo-dramatic relation of all forms to Christ, and his phenomenology of truth, Balthasar's philosophical and theological insights into the nature of art are presented as a resource for a constructive theology of art which "springs" from the depths of his theological aesthetics.

This collection of essays by distinguished authors explores the present-day field of theological aesthetics: from von Balthasar's contribution and parallel developments to correctives and alternatives to his approach. A tribute to von Balthasar's own project expands into a dialogue with ancient and medieval traditions in search of revelatory aesthetics. The contributors outline challenges to his approach (including Protestant perspectives) and introduce new ways of viewing the field of theological aesthetics, which ultimately opens up to the idea of concrete cultural contexts and practical human needs determining the use of the arts and aesthetic sensibilities in theology.

although Hans Urs von Balthasar’s earliest publication is from 1925, and although he was a mature forty years old in 1945, there is a deficiency in the secondary literature regarding his early literature, its historical backgrounds and non-theological sources. In this study Balthasar is presented in relation to the various contexts in which he was both drawing upon and responding to from the 1920s to the 1940s. The major contexts analyzed here are the broad central European Germanophone cultural context, the Germanophone Catholic cultural context, the German studies context, the French Catholic renewal literature and theology of the early 20th-century, the popular journal Stimmen der Zeit, Neo-Scholasticism, early 20th-century French Catholic culture, Swiss fascism, National Socialist literature, the Renouveau Catholique, the George-Kreis and many others. Balthasar’s early anti-Semitism and some of the problematic aspects of his early work are also addressed in this study. His understanding of the modern age, his relationships with some key intellectual figures and his later reflections on his early work are also introduced. The book offers a comprehensive study of Balthasar’s early intellectual development.

Gadamer's aesthetics demonstrates that the experience of art is grounded in the objectivities of language, history and tradition. By treating words and images as transmittable placeholders for meanings and concepts, hermeneutics gives a persuasive account of how artworks communicate. Davey demonstrates how hermeneutics transforms aesthetic reflection into a poignant attentive practice that is open to the unexpected. This new "poetics" is relevant not only to the understanding of art but also to showing, explaining and defending the cognitive content of the humanities. Hermeneutic aesthetics provides a sound basis for re-thinking humanities disciplines as critical-creative practices able to re-envision the future.

The 20th and 21st Centuries have been characterized by theologians and philosophers rethinking theology and revitalizing the tradition. This unique anthology presents contributions from leading contemporary theologians - including Rowan Williams, Fergus Kerr, Aidan Nichols, G.R. Evans and Tracey Rowland - who offer portraits of over fifty key theological thinkers in the modern and postmodern era. Distinguished by its broad ecumenical perspective, this anthology spans arguably one of the most creative periods in the history of Christian theology and includes thinkers from all three Christian traditions: Protestant, Catholic and Orthodox. Each individual portrait in this anthology includes a biographical introduction, an overview of theological or philosophical writing, presentation of key thoughts, and contextual placing of the thinker within 20th Century religious discourse. Overview articles explore postmodern theology, radical orthodoxy, ecumenical theology, feminist theology, and liberation theology. A final section includes portraits of important thinkers who have influenced Christian thought from other fields, not least from Continental philosophy and literature.

This study renders an original and constructive Catholic theology of prayer drawing on the work of Hans Urs von Balthasar (1905-1988). Travis LaCouter explores the trinitarian, Christological, ecclesial, anthropological, and eschatological dimensions of prayer in Balthasar's theology, and shows how these combine to give a powerful account of prayer's proper theological scope and purpose. There is also a critical dimension of prayer which is arguably underdeveloped in some of Balthasar's key texts, but which LaCouter shows to have significant dialogical potential with contemporary accounts of parrhesia since Foucault. This approach demonstrates the centrality of prayer to Balthasar's entire theological system and does so in a way which itself constitutes an exercise in Catholic systematics. This study is also distinctive for establishing a method of proceeding through Balthasar's sprawling oeuvre (and the similarly vast secondary literature) by arguing for three “categories” of texts in Balthasar's writings and, separately, three “waves” of Balthasar readers. Thus, this study is a resource not just for those interested in prayer but for anyone interested in reading Balthasar today.