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This study is an important contribution to the intellectual history of Victorian England which examines the religio-aesthetic theories of some central writers of the time. Dr Fraser begins with a discussion of the aesthetic dimensions of Tractarian theology and then proceeds to the orthodox certainties of Hopkins' theory of inscape, Ruskin's and Arnold's moralistic criticism of literature and the visual arts, and Pater's and Wilde's faith in a religion of art. The author identifies significant cultural and historical conditions which determined the interdependence of aesthetic and religious sensibility in the period. She argues that certain tensions in the thought of Wordsworth and Coleridge - tensions between poetry and religion, rebellion and reaction, individualism and authority - continued to manifest themselves throughout the Victorian age, and as society became increasingly democratic, religion in turn became increasingly personal and secular.
From a world-renowned painter, an exploration of creativity’s quintessential—and often overlooked—role in the spiritual life “Makoto Fujimura’s art and writings have been a true inspiration to me. In this luminous book, he addresses the question of art and faith and their reconciliation with a quiet and moving eloquence.”—Martin Scorsese “[An] elegant treatise . . . Fujimura’s sensitive, evocative theology will appeal to believers interested in the role religion can play in the creation of art.”—Publishers Weekly Conceived over thirty years of painting and creating in his studio, this book is Makoto Fujimura’s broad and deep exploration of creativity and the spiritual aspects of “making.” What he does in the studio is theological work as much as it is aesthetic work. In between pouring precious, pulverized minerals onto handmade paper to create the prismatic, refractive surfaces of his art, he comes into the quiet space in the studio, in a discipline of awareness, waiting, prayer, and praise. Ranging from the Bible to T. S. Eliot, and from Mark Rothko to Japanese Kintsugi technique, he shows how unless we are making something, we cannot know the depth of God’s being and God’s grace permeating our lives. This poignant and beautiful book offers the perspective of, in Christian Wiman’s words, “an accidental theologian,” one who comes to spiritual questions always through the prism of art.
What once drove men to construct enormous abbeys and cathedrals, with gargoyles, rounded arches, rose windows, dark recesses, and flying buttresses? In the modern imagination, these structures are believed to tell a series of stories about the meaning of life, but this anachronism would have astounded their medieval creators. As he explores two of the finest churches of this period – the Abbey of Mont St-Michel on the Normandy coast, and soaring Chartres Cathedral in the fields of the Loire Valley – author Jon Sweeney comes to the conclusion that, without faith, they make no sense at all. But within a life of faith, the universe that includes them is marvelous, beautiful, mysterious, and tapped into something that secularism cannot fathom. This luminous series of reflections hinges on seven words of Gothic spirituality — space, sanctuary, stone, light, darkness, gargoyles, and flight — and shows us that beauty is not just for admiring, but a key to believing, and reveals how the vision of our medieval forebears can refresh and inspire our faith today.
'Aesthetics' and 'theological aesthetics' usually imply a focus on questions about the arts and how faith or religion relates to the arts; only the final pages of this work take up that problem. The central theme of this book is that of beauty. Farley employs a new typology of western texts on beauty and a theological analysis of the image of God and redemption to counter the centuries-long tendency to ignore or marginalize beauty and the aesthetic as part of the life of faith. Studying the interpretation of beauty in ancient Greece, eighteenth-century England, the work of Jonathan Edwards, and nineteenth and twentieth-century philosophies of human self-transcendence, the author explores whether Christian existence, the life of faith, and the ethical exclude or require an aesthetic dimension in the sense of beauty. The work will be of particular interest to those interested in Christian theology, ethics, and religion and the arts.
This study is focused on the interaction of material and symbolic values ascribed to sacred trees in India and expressed in 3,000 years of ritual practice. Point of departure is the contemporary trend of mining religious narratives in order to mobilise environmental awareness.
The bestselling classic that redefined our view of the relationship between beauty and female identity. In today's world, women have more power, legal recognition, and professional success than ever before. Alongside the evident progress of the women's movement, however, writer and journalist Naomi Wolf is troubled by a different kind of social control, which, she argues, may prove just as restrictive as the traditional image of homemaker and wife. It's the beauty myth, an obsession with physical perfection that traps the modern woman in an endless spiral of hope, self-consciousness, and self-hatred as she tries to fulfill society's impossible definition of "the flawless beauty."
A young feminist finds herself questioning why “hotness” has become necessary for female empowerment—and looks for alternatives. Looking good feels good. But in a society where looking good is posited as being strong, while negotiating for better pay is statistically proven to damage our careers, is it fair to say that wicked eyeliner, weekly blowouts, and a polished Instagram feed are the keys to our liberation? If so—if “hot” really is a good enough synonym for “empowered”—why do so many of us feel, deep in our bones, that the sexy-as-strong model is a distraction? Is “pretty” still the closest to power women can get? Why is looking fierce an acceptable substitute for living in a world where women are safe? Inspired in seminary by American Muslimahs who wear the hijab for feminist reasons, Lauren Shields took off what she calls the Beauty Suit—the “done” hair, the tasteful and carefully applied makeup, the tight clothes and foot-binding shoes—for nine months. She’d really only wanted to do an experiment. Instead, her life—especially her views on what constitutes “liberation”—changed forever. Rooted in feminist theory and religious history, and guided by a snappy personal narrative, The Beauty Suit unpacks modern American womanhood: a landscape where the female body is still so often the battleground for male ideals, and where we struggle with our rights as human beings to define and exercise our freedom.
Follow Andrew Klavan to a deeper, richer understanding of the words of Jesus. Andrew Klavan believed what he read in the Gospels, but he often struggled to understand what Jesus really meant. So he began a journey of wrestling with the beautiful and often strange words of Jesus. He learned Greek in order to read the Gospels in their original languages, and he vowed to set aside any preconceptions about what the Scriptures say. But it wasn't until he began exploring how some of history's greatest writers wrestled with the same issues we confront today--political upheaval, rejection of social norms, growing disbelief in God--that he found a new way of understanding what Jesus meant. In The Truth and Beauty, Klavan combines a decades-long writing career with a lifetime of reading to discover a fresh understanding of the Gospels. By reading the words of Jesus through the life and work of writers such as William Wordsworth and John Keats, Mary Shelley and Samuel Taylor Coleridge--the English romantics--Klavan discovered a way to encounter Jesus in a deeper and more profound way than ever before. For readers seeking to find renewed meaning in the words of Jesus--and for those who are striving for belief in a materialistic world--The Truth and Beauty offers an intimate account of one man's struggle to understand the Gospels in all their strangeness, and so find his way to a life that is, as he says, "the most creative, the most joyful, and surely the most true."