Urs

This collection of essays, gathered under the auspices of Communio editors, represents the most wide-ranging study of the life and work of Balthasar. The twenty contributors include highly respected theologians, philosophers and bishops from around the world such as Henri Cardinal de Lubac, S.J., Walter Kasper, Louis Dupre, Joseph Cardinal Ratzinger (now Pope Benedict XVI), and Pope John Paul II. "...meeting Balthasar was for me the beginning of a lifelong friendship I can only be thankful for. Never again have I found anyone with such a comprehensive theological and humanistic education as Balthasar and de Lubac, and I cannot even begin to say how much I owe to my encounter with them." - Joseph Ratzinger (Pope Benedict XVI)

Phantom Paintings gathers several series of paintings on aluminum panel produced over the last three years by the Swiss artist Urs Fischer (born 1973). From far away many of these paintings appear to be large-scale gestural abstractions, but on closer inspection the viewer detects total flatness--the abstract paint marks were actually photographed and silkscreened on top of images of personal spaces, creating an image of abstraction rather than the abstraction itself. This process allows a largeness of motion and an immediacy, as two representational systems clash. In other works, the abstractions obstruct images taken from vintage Hollywood publicity headshots as well as close-up photographs of the artist's own face. Finally, bold paintings on cutout aluminum panels push the limits of line, color and shape, transforming facial features into intersecting organic shapes that slide and mutate in a new form of landscape painting.

An exploration of the current state of global trade law in the era of Big Data and AI. This title is also available as Open Access on Cambridge Core.

This penetrating study makes a case for the centrality of the concept of representation (Stellvertretung) in Hans Urs von Balthasar’s theological project. How is it possible for Christ to act in the place of humanity? In Hans Urs von Balthasar’s Theology of Representation, Jacob Lett broaches this perplexing soteriological question and offers the first book-length analysis of Balthasar’s theology of representation (Stellvertretung). Lett’s study shows how Balthasar rehabilitates the category of representation by developing it in relationship to the central mysteries of the Christian faith: concerned by the lack of metaphysical and theological foundations for understanding the question above, Balthasar ultimately grounds representation in the trinitarian life of God, making “action in the place of the other” central to divine and creaturely being. Lett not only articulates the centrality of representation to Balthasar’s theological project but also demonstrates that Balthasar’s theology of representation has the potential to reshape discussions in the fields of soteriology, Christology, trinitarian theology, anthropology, and ecclesiology. This work covers a wide range of themes in Balthasar’s theology, including placial and spatial metaphors, a post-Chalcedonian Christology of Christ’s two wills, and theories of drama. This book is also a text of significant comparative range: Lett considers Balthasar’s key interlocutors (Gregory of Nyssa, Maximus, Aquinas, Przywara, Ulrich, Barth) and expands this base to include voices beyond those typically found in Balthasarian scholarship, including Dietrich Bonhoeffer and Dorothee Sölle. The overall result is a deeply probing presentation of one of Balthasar’s most significant contributions to contemporary theology.

In The Achievement of Hans Urs von Balthasar, Matthew Levering has written a book for theologically educated readers who mistrust von Balthasar or who mistrust von Balthasar’s critics. The book shows that von Balthasar’s critics can and should benefit both from the rich and wide-ranging conversations that mark his trilogy and from the critical and constructive engagement with German philosophical modernity offered by the trilogy. In addition, Levering hopes to show that those who mistrust von Balthasar’s critics need to be more Balthasarian in their response to criticisms of the Swiss theologian.

Although scholarship has long recognized the centrality of the Trinity in the theology of Hans Urs von Balthasar, no sustained treatment of this theme has been published until now. In this insightful new book, The Trinitarian Theology of Hans Urs von Balthasar, Brendan McInerny fills this gap, situating Balthasar’s trinitarian theology in conversation with both the wider Christian theological tradition and his non-Christian intellectual contemporaries. Drawing from across Balthasar’s extensive body of works, McInerny argues that Balthasar’s vivid description of the immanent Trinity provides a way to speak of how “God is love” in himself, beyond his relationship to creatures. He then shows how Balthasar’s speculation into the immanent Trinity serves as the substructure of his theology of deification. For Balthasar, what we say about the inner life of God matters because we are called to share in that very life through Christ and the Holy Spirit, to the glory of God the Father. Finally, responding to the criticisms that Balthasar’s speculations into the inner life of God are without warrant, McInerny argues that Balthasar’s bold trinitarian claims are actually a vehicle for apophatic theology. Balthasar’s vivid description of the triune God does not transgress the boundaries of theological discourse. Rather, it manifests God’s ever-greater incomprehensibility through verbal excess, oxymoron, and paradox.

The work of the influential Jesuit theologian Hans Urs von Balthasar (1905–1988) has become a common point of reference in discussing the relationship of theology and the arts. However, the full significance of his theological aesthetics for both the emerging field of theology and the arts, as well as for interdisciplinary conversation with contemporary art and theory, remains to be unfolded. This book explores the ways in which Balthasar's theo-aesthetics, when taken together with his theological dramatics and theo-logic, yield a theologically informed phenomenology of the work of art with rich implications for contemporary theologies of art. By investigating the nature and disclosure of beauty and being through art, Balthasar's theological re-reading of Heidegger, his theo-dramatic relation of all forms to Christ, and his phenomenology of truth, Balthasar's philosophical and theological insights into the nature of art are presented as a resource for a constructive theology of art which "springs" from the depths of his theological aesthetics.

although Hans Urs von Balthasar’s earliest publication is from 1925, and although he was a mature forty years old in 1945, there is a deficiency in the secondary literature regarding his early literature, its historical backgrounds and non-theological sources. In this study Balthasar is presented in relation to the various contexts in which he was both drawing upon and responding to from the 1920s to the 1940s. The major contexts analyzed here are the broad central European Germanophone cultural context, the Germanophone Catholic cultural context, the German studies context, the French Catholic renewal literature and theology of the early 20th-century, the popular journal Stimmen der Zeit, Neo-Scholasticism, early 20th-century French Catholic culture, Swiss fascism, National Socialist literature, the Renouveau Catholique, the George-Kreis and many others. Balthasar’s early anti-Semitism and some of the problematic aspects of his early work are also addressed in this study. His understanding of the modern age, his relationships with some key intellectual figures and his later reflections on his early work are also introduced. The book offers a comprehensive study of Balthasar’s early intellectual development.

In Hans Urs von Balthasar and the Critical Appropriation of Russian Religious Thought, Jennifer Newsome Martin offers the first systematic treatment and evaluation of the Swiss Catholic theologian’s complex relation to modern speculative Russian religious philosophy. Her constructive analysis proceeds through Balthasar’s critical reception of Vladimir Soloviev, Nicholai Berdyaev, and Sergei Bulgakov with respect to theological aesthetics, myth, eschatology, and Trinitarian discourse and examines how Balthasar adjudicates both the possibilities and the limits of theological appropriation, especially considering the degree to which these Russian thinkers have been influenced by German Idealism and Romanticism. Martin argues that Balthasar’s creative reception and modulation of the thought of these Russian philosophers is indicative of a broad speculative tendency in his work that deserves further attention. In this respect, Martin consciously challenges the prevailing view of Balthasar as a fundamentally conservative or nostalgic thinker. In her discussion of the relation between tradition and theological speculation, Martin also draws upon the understudied relation between Balthasar and F. W. J. Schelling, especially as Schelling's form of Idealism was passed down through the Russian thinkers. In doing so, she persuasively recasts Balthasar as an ecumenical, creatively anti-nostalgic theologian hospitable to the richness of contributions from extra-magisterial and non-Catholic sources.

This book brings together the work of Carl Gustav Jung and Hans Urs von Balthasar, two of the most creative thinkers in psychology and theology in the twentieth century, to critically compare their ideas on the perennial question of God’s involvement with evil. In later life Jung embarked on a project relating to Christianity, with psychotherapeutic and theological intentions, forming his collection of essays, Symbolik des Geistes, in which God and evil was a major theme. Balthasar gave significant attention to Jung’s psychology in his own theological trilogy, but opposed the approach to God and evil that Jung presented. In this book Les Oglesby provides a thorough examination of convergences and divergences in Jung and Balthasar’s thinking, their different approaches to the origins and reality of evil, as well as their alternative theological orientations. The book culminates with a study of each man’s understanding of the central event of Christianity, Christ’s death on the Cross and his descent to the dead and discusses how Balthasar’s ‘vertical’ and Jung’s ‘horizontal’ approach to this major happening can be held together fruitfully with one another. Illustrating how analytical psychology and Christian theology can mutually enrich one another when they are held in creative tension, this book invites reflection on the meaning of the central symbol of Christianity, and God’s involvement with evil as an aid to integrated psychological living and theological maturity. It will prove fascinating for students of psychology and religion as well as for Jungian analysts and practical theologians.