Balthasar, the Sublime, and the Avant-Garde
Following Cyril O’Regan’s suggestion of possible Balthasarian reflections on the sublime and the avant-garde, this article argues that actualizing these possibilities could contribute fruitfully to Hans Urs von Balthasar’s theological-aesthetic resistance to Hegelian economy (mastery of all meaning...
| Main Author: | |
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Wiley-Blackwell
2022
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| In: |
Modern theology
Year: 2022, Volume: 38, Issue: 3, Pages: 513-534 |
| Standardized Subjects / Keyword chains: | B
Balthasar, Hans Urs von 1905-1988
/ Hegel, Georg Wilhelm Friedrich 1770-1831
/ Avant-garde
/ The Modern
/ Art
|
| RelBib Classification: | CD Christianity and Culture CE Christian art KAH Church history 1648-1913; modern history KAJ Church history 1914-; recent history VA Philosophy |
| Online Access: |
Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
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| 520 | |a Following Cyril O’Regan’s suggestion of possible Balthasarian reflections on the sublime and the avant-garde, this article argues that actualizing these possibilities could contribute fruitfully to Hans Urs von Balthasar’s theological-aesthetic resistance to Hegelian economy (mastery of all meaning and value through scientific reason) and to postmodern alternative philosophies to Hegel. The article expands the Balthasarian notion of “form” to open new partnerships between Balthasarian aesthetics and artistic currents that share his project of resisting economy. The article examines Balthasar’s early rejection of avant-garde and modern art in historical and cultural context. It effects a critical dialogue between Balthasar and two prominent postmodern precedents for thinking about the sublime and avant-garde art (Jean-François Lyotard and Jean-Luc Nancy). It constructs a different, Balthasarian perspective on the sublime and the avant-garde, emphasizing the ontological sublime (Goethe, Scheeben) and Christus deformis (Augustine, Bonaventure). Then it sets the Balthasarian sublime in conversation with contemporary artist Sarah Sze to discover new counter-economic possibilities for the Balthasarian Gestalt. | ||
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