Download Free The Tragic Vision And The Christian Faith Book in PDF and EPUB Free Download. You can read online The Tragic Vision And The Christian Faith and write the review.

Offering an alternative to classic Christian theodicies (justification of God's goodness and omnipotence in view of the existence of evil), Wendy Farley interprets the problem of evil and suffering within a tragic context, advocating compassion to describe the power of God in the struggle against evil.
Many have used the term 'tragic' to refer to African American religious and cultural experience. After a studied meditation on and articulation of the 'tragic vision,' Johnson argues that African American Christian Consciousness is an expression of the tragic and a tragic expression of the Christian Faith.
"As Cotkin shows, not only did Americans readily take to existentialism, but they were already heirs to a rich tradition of thinkers - from Jonathan Edwards and Herman Melville to Emily Dickinson and William James - who had wrestled with the problems of existence and the contingency of the world long before Sartre and his colleagues. After introducing the concept of an American existential tradition, Cotkin examines how formal existentialism first arrived in America in the 1930s through discussion of Kierkegaard and the early vogue among New York intellectuals for the works of Sartre, Beauvoir, and Camus.
In this discerning study of the relationship of the tragic vision to the Hebrew, W. Lee Humphreys suggests various ways in which Israel confronted the power of the tragic vision at certain points in its tradition. Humphreys demonstrates how Òtragedy,Ó the literary genre, and Òthe tragic visionÓ maintain a delicate but vital balance between fate and law. In conclusion, he contends that the tragic vision finds fullest expression at points of radical dislocation in human history. At these times, the essential questions of existence are reopened, rehearsed, and relived as the tragic vision questions all previous answers and dogmatic claims to the meaning of life.
Despite the pervasive early Christian repudiation of pagan theatrical art, especially prior to Constantine, this monograph demonstrates the increasing attention of late-ancient Christian authors to the genre of tragedy as a basis to explore the complexities of human finitude, suffering, and mortality in relation to the wisdom, justice, and providence of God. The book argues that various Christian writers, particularly in the post-Constantinian era, were keenly devoted to the mimesis, or imaginative re-presentation, of the tragic dimension of creaturely existence more than with simply mimicking the poetics of the classical Greek and Roman tragedians. It analyses a whole array of hermeneutical, literary, and rhetorical manifestations of "tragical mimesis" in early Christian writing, which, capitalizing on the elements of tragedy already perceptible in biblical revelation, aspired to deepen and edify Christian engagement with multiform evil and with the extreme vicissitudes of historical existence. Early Christian tragical mimetics included not only interpreting (and often amplifying) the Bible's own tragedies for contemporary audiences, but also developing models of the Christian self as a tragic self, revamping the Christian moral conscience as a tragical conscience, and cultivating a distinctively Christian tragical pathos. The study culminates in an extended consideration of the theological intelligence and accountability of "tragical vision" and tragical mimesis in early Christian literary culture, and the unique role of the theological virtue of hope in its repertoire of tragical emotions.
This remarkable text, first published in 1964, was a landmark of its era and remains, in the words of Michael Lwy, a work of "remarkable richness." Drawing on Georg Lukcs' History and Class Consciousness, Lucien Goldmann applies the concept of "world visions" to flesh out the similarities between Pascal's Penses and Kant's critical philosophy, contrasting them with the rationalism of Descartes and the empiricism of Hume. For Goldmann, a leading exponent of the most fruitful method of applying Marxist ideas to literary and philosophical problems, the "tragic vision" marked an important phase in the development of European thought, as it moved from rationalism and empiricism to the dialectical philosophy of Hegel, Marx and Lukcs. Here he offers a general approach to the problems of philosophy, of literary criticism, and of the relationship between thought and action in human society.
Drawing together leading scholars from both theological and literary backgrounds, Christian Theology and Tragedy explores the rich variety of conversations between theology and tragedy. Three main areas are examined: theological readings of a range of tragic literature, from plays to novels and the Bible itself; how theologians have explored tragedy theologically; and how theology can interact with various tragic theories. Encompassing a range of perspectives and topics, this book demonstrates how theologians can make productive use of the work of tragedians, tragic theorists and tragic philosophers. Common misconceptions - that tragedy is monolithic, easily definable, or gives straightforward answers to theodicy - are also addressed. Interdisciplinary in nature, this book will appeal to both the theological and literary fields.
Simone Weil’s supernaturalist interpretations of tragedy challenge not only the philosophical skepticism but also the religious rationalism characteristic of the modern age. This book boldly points out a supernaturalist alternative to contemporary, post-structuralist literary theory. This study of classical tragic drama offers a sacralizing impetus to secular discussions of literature. The book’s Platonic premises and its grounding in the transcendental outlook of the religious traditions furnish a sacred illumination. Religious mystery and the cross of Christ both overshadow and deepen philosophical approaches to literary criticism, including theories of tragedy. Simone Weil’s conception of tragic art, rooted in a mystical Christian metaphysics, offers original insight into the nature of tragedy. In contradiction of the prevailing secular outlook, Weil regards classical tragedy as a sacred art form. Tragic masterpieces evoke not the chaotic or irrational, as modernist interpreters hold, but rather a good which is absolute
Jeff Jay argues that the Gospel of Mark should be described as tragic because it elicits tragedy's recurring motifs and moods as well as a highly theatrical atmosphere. He thus revises the typical story of tragic drama's history, which portrays the Judeo-Christian tradition as inhospitable to tragedy because it emphasizes divine grace and justice.