Christ and Culture (Challenges in Contemporary Theology) by Graham Ward

By Graham Ward

This paintings via Graham Ward, essentially the most visionary theologians of his iteration, includes 9 interrelated stories of representations of Christ. Drawn from assets as diversified because the New testomony and twentieth-century continental philosophy, Ward develops his personal unique incarnational theology. From his exploration of up to date different types corresponding to the physique, gender, wish, politics and the elegant, a Christology emerges that's either rooted in Scriptural exegesis and anxious with today’s cultural concerns; and a imaginative and prescient appears to be like of the probabilities for residing oriented in the direction of the nice, the real, the gorgeous and the simply.

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Art, therefore, idealises and, in this sense, does not strictly mirror what is but imitates what should be or will be. Art here presents rather than represents, for it moves beyond what it repre9 Literary approaches to Mark’s Gospel began to proliferate from the early 1970s, in the wake of and partly as a reaction to redaction criticism. C. Kee’s attempt to reconstruct Mark’s community in Community of the New Age, London: SCM, 1977). The extent of how established and interrelated these approaches now are can be seen from studies of Mark executed in the late 1980s.

The form is always of an action, and is, therefore, an element in a narrative. Hence in Poetics all the roads of representation lead into a discussion about drama. Mimesis is inseparable from muthos and poiesis (the process whereby language bodies forth its representation). Some philosophers would take this further and claim narrative as a fundamental category for epistemology – that there is no knowledge that is not mediated and part of ‘the way we tell the story’ of what we know. 12 But it is also a development of Aristotle’s notion that art presents what is otherwise unavailable to us (the idealised reality).

Robert Scharlemann has distinguished between theoretical, practical aesthetic and acoluthetic forms of reason. He equates acoluthetic reason with Christological reason. ’14 My argument is that there is a relationship between this acoluthetic reason and Mark’s narrative. Scharlemann defines aesthetic reason as similar to acoluthetic reason in that both perform relations within an exstantial I, but aesthetic reason identifies so completely with this exstantial I that it forgets itself. Acoluthetic reason maintains this tension between the inward I and the exstantial I.

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