This article adopts Edwina Sandys’ Christa as a hermeneutical lens through which to expose new dimensions about the interplay between aesthetics and redemption in the Christian tradition. Contemporary theological aesthetic discourses have ignored ugliness and its causes, especially the patriarchal ways in which Christian tradition has been used to sanctify violence against women. The issue of gender injustice takes on a heightened significance in light of recent claims surrounding the beauty of the cross. As a subversive aesthetic feminist representation, Christa (...) exposes the patriarchal dimensions of such constructions and calls for a new vision of aesthetics – one that begins with women’s experiences of suffering and salvation. (shrink)

This essay presents Augustine as a rich ethical resource on issues of wealth and poverty. Contrary to prevalent views that he had little to say on issues of economic justice, Augustine decries wealth as morally dangerous, promotes the agency of the poor in advocating for themselves with the wealthy, and supports distributive justice. Augustine envisions an interdependent Christian community where the wealthy not only help the poor, but rely on the poor to help them achieve salvation by “bearing their goods (...) to heaven,” as Augustine describes the receipt of alms. Augustine's view of wealth's moral danger is an apt resource for ethicists interested in virtue. His insistence on poor people's moral agency and interdependence among poor and wealthy speak to pressing issues of justice in today's unequal societies. (shrink)

Las Confesiones de San Agustín son una obra muy peculiar. Lectores e investigadores convienen en ello. No es fácil ‘definir’ ni comprender ese escrito. El presente estudio intenta una aproximación a su contenido mediante un examen de ciertos rasgos característicos de la obra que derivan de su propia singularidad. Y denunciamos también algunos impedimentos de comprensión y lectura. Confiemos en que esta mirada pueda ofrecer una guía inicial, pero orientadora, a la misma. Además, el estudio formal y temático revela una (...) dinámica interna, de su estructura misma, que va del relato autobiográfico a la reflexión , de lo narrativo al pensamiento. Este avance tendencial culmina al concluir el libro IX, donde la dimensión narrativa de la obra termina. Razón por la cual los libros X-XI alcanzan el vértice teorético de las Confesiones, con su investigación de la memoria y del tiempo. El presente estudio concluye con una breve exposición del problema agustiniano de la subjetividad o el yo, en la base de esos dos libros.t. Augustine’s Confessions is a very particular work. Readers and Scholarsagree upon it. Therefore, it’s ‘definition’ and understanding are not so easy. These paper tries to provide an approach to the contents of this difficult writing, by means of an examination of some main special traits, arising from the particular work’s kind. And we betray also some new difficulties for it’s reading and understanding. It is hoped that these brief look to the famous Augustinian writing could offer an initial but adviser guide to it. Moreover, the formal and thematic inquiry reveal an internal dynamics of it’s structure, which moves from the autobiographycal account to the reflection , from the story to the thinking. This aimed advance culminates at the end of the book IX, where the work’s narrative side concludes. That’s why the books X and XI reach the theoretical summit of the Confessions through their search for memory and time. Our paper ends with an exposition of the Augustinian inquiry on the human subiectivity, underlying both these books. (shrink)

En distintos momentos de su producción intelectual, Agustín se refirió al asunto de la música. En este artículo mostraremos que Agustín uso dos esquemas conceptuales distintos para describir el fenómeno de la música práctica en su relación con el mundo espiritual, el esquema de las Artes Liberales y el de la teoría del signo, y que en virtud de ello la música sería concebida de dos modos diferentes: como vestigium y como signum del mundo espiritual, respectivamente. Al final del artículo (...) analizaremos la diferencia entre las dos concepciones considerando tres elementos: la naturaleza de la relación entre mundo material y espiritual, el contenido espiritual al que remite y la noción de belleza que implica. (shrink)

El uso de Agustín de Filipenses 2:6-7 como la “regla de la fe” que le sirve para quitarle importancia a las preocupaciones de la cristología pronicea ha sido, correctamente, enfatizado repetidamente por parte de los expertos agustinólogos anglófonos. Empero, el énfasis en la polémica función del dueto forma servi/forma dei ha hecho que se pierda de vista su presencia y desarrollo en contextos no polémico. Esto es sorprendente dado que Agustín trata bastante más frecuentemente la perícopa en cuestión por fuera (...) de contextos polémicos. El presente artículo tiene por objetivo completar este vacío catalogando los usos no polémicos de Filipenses 2:6-7 en el trabajo de Agustín y su desarrollo vis-à-vis del término forma entre los predecesores latinos inmediatos del siglo IV de Agustín. Así, este artículo espera ilustrar el sentido no polémico, frecuentemente ignorado, de Filipenses 2:6-7 dentro del discurso del cristianismo temprano. (shrink)

Aesthetics is a vexed topic in philosophy, with a long history. For my purposes, an aesthetic experience is a foundational affective response to an object, to which terms such as “ugly”, “beautiful”, “pretty” or “harmonious” are applied. These terms are derived from a Discourse of aesthetics; some remain constant, others change from generation to generation. Aesthetics and ethics have been linked in Western thought since the days of Plato and Aristotle. This essay examines what is happening to that link in (...) contemporary experience. It emphasises the ways in which the popular media exploit aesthetic appeal to penetrate their market, and to exploit and frame intuitive responses to current and past events. Production values, the artfulness of editors and the financial interests of producers and directors thus do much to determine contemporary aesthetic and ethical judgements. That which is beautifully presented invites the ethical involvement of the audience. Events whose images are beautifully presented constitute “hyperevidence”, a pre-judged, reinforced and amplified illusion of reality and participation. Understanding how aesthetic excellence draws audiences into ethical relationship with what is presented becomes an important part of education in ethics, including bioethics. (shrink)