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Introduction | |
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The Question | |
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Terms Employed | |
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Beauty | |
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Final Remarks | |
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Dionysus against the Crucified: The Violence of Metaphysics and the Metaphysics of Violence | |
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The City and the Wastes | |
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The Veil of the Sublime | |
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The Will to Power | |
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The Covenant of Light | |
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The Beauty of the Infinite: A Dogmatica Minora | |
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Trinity | |
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The Christian understanding of beauty emerges not only naturally, but necessarily, from the Christian understanding of God as a perichoresis of love, a dynamic coinherence of the three divine persons, whose life is eternally one of shared regard, delight, fellowship, feasting, and joy | |
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Divine Apatheia | |
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Divine Fellowship | |
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Divine Joy | |
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The Christian understanding of difference and distance is shaped by the doctrine of the Trinity, where theology finds that the true form of difference is peace, of distance beauty | |
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Divine Difference | |
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Divine Perfection | |
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In the Christian God, the infinite is seen to be beautiful and so capable of being traversed by way of the beautiful | |
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Desire's Flight | |
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Changeless Beauty | |
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The Mirror of the Infinite | |
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Infinite Peace | |
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The infinite is beautiful because God is Trinity; and because all being belongs to God's infinity, a Christian ontology appears and properly belongs within a theological aesthetics | |
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God and Being | |
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God beyond Being | |
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Analogia Entis | |
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Creation | |
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God's gracious action in creation belongs from the first to that delight, pleasure, and regard that the Trinity enjoys from eternity, as an outward and unnecessary expression of that love; and thus creation must be received before all else as gift and as beauty | |
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Analogia Delectationis | |
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The Gift | |
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Desire's Power | |
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As God is Trinity, in whom all difference is possessed as perfect peace and unity, the divine life might be described as infinite music, and creation too might be described as a music whose intervals, transitions, and phrases are embraced within God's eternal, triune polyphony | |
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The Divine Theme | |
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Divine Counterpoint | |
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As God utters himself eternally in his Word, and possesses all the fullness of address and response, and as creation belongs to God's utterance of himself (as a further articulation, at an analogical remove, of the abundant "eloquence" of divine love), creation may be grasped by theology as language | |
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Divine Expression | |
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Divine Rhetoric | |
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Analogia Verbi | |
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Salvation | |
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Salvation occurs by way of recapitulation, the restoration of the human image in Christ, the eternal image of the Father after whom humanity was created in the beginning; thus salvation consists in the recovery of a concrete form, and in the restoration of an original beauty | |
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The Form of Distance | |
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Christ the Sign | |
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"What Is Truth?" | |
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The Practice of the Form | |
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In Christ, totality's economy of violence is overcome by the infinity of God's peace, inasmuch as one order of sacrifice is overcome by another: sacrifice as the immolation of the beautiful is displaced by a sacrifice whose offering is one of infinite beauty | |
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The Economy of Violence | |
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A Gift Exceeding Every Debt | |
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The Consolations of Tragedy, the Terrors of Easter | |
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Eschaton | |
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Christian eschatology affirms the goodness of created difference, reveals divine truth to be inseparable from beauty, and exposes the totality as false and marked with a damnable finitude | |
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Time's Surface, Eternity's Light | |
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The Last Adam | |
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Rhetoric without Reserve: Persuasion, the Tyranny of Twilight, and the Language of Peace | |
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The War of Persuasions | |
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The Violence of Hermeneutics | |
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The Optics of the Market | |
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The Gift of Martyrs | |
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Index | |