Lexi Eikelboom – författare

Rhythm: A Theological Category argues that, as a pervasive dimension of human existence with theological implications, rhythm ought to be considered a category of theological significance. Philosophers and theologians have drawn on the category of rhythm—patterned movements of repetition and variation-to describe reality, however, the ways in which rhythm is used and understood differ based on a variety of metaphysical commitments with varying theologicalimplications. Lexi Eikelboom brings those implications into the open through using resources from phenomenology, prosody, and the social sciences to analyse and evaluate uses of rhythm in metaphysical and theological accounts of reality. The analysis relies on a distinction from prosody between a synchronicapproach to rhythm, which observes the whole at once and considers how various dimensions of a rhythm hold together harmoniously, and a diachronic approach, which focuses on the ways in which time unfolds as the subject experiences it. Based on an engagement with the twentieth-century Jesuit theologian Erich Przywara alongside thinkers as diverse as Augustine and the contemporary philosopher Giorgio Agamben, Eikelboom proposes an approach to rhythm that serves the concerns of theologicalconversation. It then demonstrates the difference that including rhythm in such theological conversation makes to how we think about questions such as "what is creation" and "what is the nature of the God-creature relationship?" from the perspective of rhythm. As a theoretical category, capable ofexpressing metaphysical commitments, yet shaped by the cultural rhythms in which those expressing such commitments are embedded, rhythm is particularly significant for theology as a phenomenon through which culture and embodied experience influence doctrine.

Rhythm: A Theological Category argues that, as a pervasive dimension of human existence with theological implications, rhythm ought to be considered a category of theological significance. Philosophers and theologians have drawn on the category of rhythm—patterned movements of repetition and variation-to describe reality, however, the ways in which rhythm is used and understood differ based on a variety of metaphysical commitments with varying theologicalimplications. Lexi Eikelboom brings those implications into the open through using resources from phenomenology, prosody, and the social sciences to analyse and evaluate uses of rhythm in metaphysical and theological accounts of reality. The analysis relies on a distinction from prosody between a synchronicapproach to rhythm, which observes the whole at once and considers how various dimensions of a rhythm hold together harmoniously, and a diachronic approach, which focuses on the ways in which time unfolds as the subject experiences it. Based on an engagement with the twentieth-century Jesuit theologian Erich Przywara alongside thinkers as diverse as Augustine and the contemporary philosopher Giorgio Agamben, Eikelboom proposes an approach to rhythm that serves the concerns of theologicalconversation. It then demonstrates the difference that including rhythm in such theological conversation makes to how we think about questions such as "what is creation" and "what is the nature of the God-creature relationship?" from the perspective of rhythm. As a theoretical category, capable ofexpressing metaphysical commitments, yet shaped by the cultural rhythms in which those expressing such commitments are embedded, rhythm is particularly significant for theology as a phenomenon through which culture and embodied experience influence doctrine.

Rhythm: A Theological Category argues that, as a pervasive dimension of human existence with theological implications, rhythm ought to be considered a category of theological significance. Philosophers and theologians have drawn on the category of rhythm--patterned movements of repetition and variation-to describe reality, however, the ways in which rhythm is used and understood differ based on a variety of metaphysical commitments with varying theological implications. Lexi Eikelboom brings those implications into the open through using resources from phenomenology, prosody, and the social sciences to analyse and evaluate uses of rhythm in metaphysical and theological accounts of reality. The analysis relies on a distinction from prosody between a synchronic approach to rhythm, which observes the whole at once and considers how various dimensions of a rhythm hold together harmoniously, and a diachronic approach, which focuses on the ways in which time unfolds as the subject experiences it. Based on an engagement with the twentieth-century Jesuit theologian Erich Przywara alongside thinkers as diverse as Augustine and the contemporary philosopher Giorgio Agamben, Eikelboom proposes an approach to rhythm that serves the concerns of theological conversation. It then demonstrates the difference that including rhythm in such theological conversation makes to how we think about questions such as "what is creation" and "what is the nature of the God-creature relationship?" from the perspective of rhythm. As a theoretical category, capable of expressing metaphysical commitments, yet shaped by the cultural rhythms in which those expressing such commitments are embedded, rhythm is particularly significant for theology as a phenomenon through which culture and embodied experience influence doctrine.

Is it possible to consider art-making as a spiritual practice independent of explicit religious belief or content? This open access collection establishes a new paradigm that changes the conversation surrounding the spiritual significance of art. Where earlier research has focused on the religious significance of secular artworks, this innovative volume turns its attention to the role of the artist, and to specific examples of art practices, putting them into conversation with particular ritual practices.By creating a web of connections that emerge across multiple disciplines and practices, a team of scholars and artist shed new light on the way art-making and ritual embody non-discursive forms of understanding. Drawing on the work of scholars who argue that ritual practice is central to religious identities, they use close analysis of specific examples to address philosophical issues about the nature of knowledge and spirituality and the relationship between them.Bringing a practice-centered approach to the study of religion and the arts, this is a rich and in-depth examination of the possibility that art has spiritual meanings that are endemic to the practice of art-making itself.The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com. Open access was funded by the Templeton Religious Trust.