Christopher R. Brewer – författare

A groundbreaking volume that brings together art, philosophy, theology, and the sciences to explore a new research area: art seeking understanding

In this cutting-edge collection, scholars working in the fields of philosophical aesthetics, religious and theological aesthetics, and empirical and neuroaesthetics come together to investigate aesthetic cognitivism, a theory about the value of the arts. According to this theory, art isn't merely a source of delight, amusement, pleasure, or emotional catharsis; rather, art can be a source of knowledge and understanding.To test the theory, the authors address a range of complex questions, such as:

These and other questions are taken up here by a diverse research community that includes artists and art researchers, philosophers and theologians, and scholars in the psychological, cognitive, and social sciences. Together, they are developing empirical and experimental studies of the cognitive significance of art with respect to spiritual realities and the discovery of new spiritual information. Their work will be of particular interest to scholars and practitioners in the fields of religion, theology, and art who value innovative interdisciplinary research and discovery.

Contributors

Garrick V. Allen, Marlene Sophie Altenmüller, Alejandro Bahena-Rivera, Bahador Bahrami, Jonathan Berger, Julio Bermudez, Christopher R. Brewer, Kutter Callaway, Eileen Cardillo, Anjan Chatterjee, Alexander P. Christensen, Kelly James Clark, Guy Dammann, Ophelia Deroy, Lexi Eikelboom, Jamal J. Elias, Alejandro Erut, Julie J. Exline, Stacie Friend, Caleb Froehlich, John Gibson, Mario Gollwitzer, Carlos Miguel Gómez-Rincón, Madeleine E. Gross, Faiz A. Hashmi, Marina Iosifyan, Zorana Ivcevic, Alison Jack, Robin M. Jensen, Cristine H. Legare, Elizabeth Mason, Valerie van Mulukom, Yoshio Nakamura, Kate Nevin, Fiona Newell, Carl Plantinga, Kelsie G. Rodenbiker, Christoph Scheepers, Elisabeth Schellekens, Jonathan W. Schooler, David Shepherd, Zachary Taylor, Pablo P. L. Tinio, Joshua A. Wilt, Brendan Wolfe, Judith Wolfe, Taylor Worley

In the ancient conversation between Western philosophy and Christian theology, powerful contemporary voices are arguing for monologue rather than dialogue. Instead of these two disciplines learning from and mutually informing each other, both philosophers and theologians are increasingly disconnected from, and thus unable to hear, what the other is saying, especially in Anglo-American scholarship. Some Christian philosophers are now found claiming methodological authority over doctrine, while some Christian theologians even deny that philosophy has its own integrity as a separate discipline. Against these trends, David Brown has argued over the past thirty years that philosophy and theology are both necessary in order to grapple with the reality of divine mystery and Christian faith. Neither discipline can be reduced to the other, and each has its own contribution to make for a full understanding of what Brown describes as ''a single vision'' of God. In this volume, Brown addresses some key topics in philosophical theology, including the created order, experience and revelation, incarnation and redemption, and heaven and our communal destiny. Combining analytic clarity, doctrinal substance, and historical depth, this volume exemplifies Brown''s project of truly integrating philosophy and theology. It thus provides an ideal introduction to this vital conversation for undergraduate and postgraduate students, as well as a connected argument of interest to specialists in both disciplines.

In the ancient conversation between Western philosophy and Christian theology, powerful contemporary voices are arguing for monologue rather than dialogue. Instead of these two disciplines learning from and mutually informing each other, both philosophers and theologians are increasingly disconnected from, and thus unable to hear, what the other is saying, especially in Anglo-American scholarship. Some Christian philosophers are now found claiming methodological authority over doctrine, while some Christian theologians even deny that philosophy has its own integrity as a separate discipline. Against these trends, David Brown has argued over the past thirty years that philosophy and theology are both necessary in order to grapple with the reality of divine mystery and Christian faith. Neither discipline can be reduced to the other, and each has its own contribution to make for a full understanding of what Brown describes as ''a single vision'' of God. In this volume, Brown addresses some key topics in philosophical theology, including the created order, experience and revelation, incarnation and redemption, and heaven and our communal destiny. Combining analytic clarity, doctrinal substance, and historical depth, this volume exemplifies Brown''s project of truly integrating philosophy and theology. It thus provides an ideal introduction to this vital conversation for undergraduate and postgraduate students, as well as a connected argument of interest to specialists in both disciplines.

‘The limits of radicalism are those which end not in chaos but in the breaking of fresh ground.’

Howard E. Root

Previously unpublished––and only recently rediscovered by Dr Christopher R. Brewer in an uncatalogued box in the archives of Lambeth Palace Library––Canon Howard E. Root’s 1972 Bampton Lectures, ‘The Limits of Radicalism’, have to do with nothing less than ‘what theology is’, a topic no less relevant today than it was in 1972. Against the radical reductionism of his time, Root defended the integrity of theology and ‘theological truth’. Advocating a ‘backward-looking’ radicalism, he thought that tradition should display ‘recognisable continuity’, and yet at the same time––against reductionistic tendencies––that it might be enriched and enlarged via a wide variety of ‘additive imagery’ including, though not limited to, poetry and pop art, music and even television. We must ‘begin where we are’, said Root, for we cannot, in the manner of Leonard Hodgson, ‘think ourselves into the minds and feelings of men 2000 years ago.’

In this volume, which begins with a substantial, mostly biographical introduction, Dr Brewer argues that Root––a backward-looking radical who defended metaphysics and natural theology, and insisted that theologians look to the arts as theological resources––anticipates the work of David Brown and others concerned with tradition and imagination, relevance and truth. A fascinating glimpse into the recent history of British Christianity, Root’s lectures, as well as the related appendices, are essential reading for theologians interested in the dynamics of a developing tradition and the theme of openness, as well as those with a particular interest in 1960s Cambridge radicalism and the British reception of the Second Vatican Council.

‘The limits of radicalism are those which end not in chaos but in the breaking of fresh ground.’

Howard E. Root

Previously unpublished––and only recently rediscovered by Dr Christopher R. Brewer in an uncatalogued box in the archives of Lambeth Palace Library––Canon Howard E. Root’s 1972 Bampton Lectures, ‘The Limits of Radicalism’, have to do with nothing less than ‘what theology is’, a topic no less relevant today than it was in 1972. Against the radical reductionism of his time, Root defended the integrity of theology and ‘theological truth’. Advocating a ‘backward-looking’ radicalism, he thought that tradition should display ‘recognisable continuity’, and yet at the same time––against reductionistic tendencies––that it might be enriched and enlarged via a wide variety of ‘additive imagery’ including, though not limited to, poetry and pop art, music and even television. We must ‘begin where we are’, said Root, for we cannot, in the manner of Leonard Hodgson, ‘think ourselves into the minds and feelings of men 2000 years ago.’

In this volume, which begins with a substantial, mostly biographical introduction, Dr Brewer argues that Root––a backward-looking radical who defended metaphysics and natural theology, and insisted that theologians look to the arts as theological resources––anticipates the work of David Brown and others concerned with tradition and imagination, relevance and truth. A fascinating glimpse into the recent history of British Christianity, Root’s lectures, as well as the related appendices, are essential reading for theologians interested in the dynamics of a developing tradition and the theme of openness, as well as those with a particular interest in 1960s Cambridge radicalism and the British reception of the Second Vatican Council.