Can there be an objective morality without God? Derek Parfit argues that it can and offers a theory of morality that is neither theistic nor naturalistic. This book provides a critical assessment of Parfit's metaethical theory. Jakobsen identifies some problems in Parfit’s theory – problems concerning moral normativity, the ontological status of morality, and evolutionary influence on our moral beliefs – and argues that theological resources can help solve them. By showing how Parfit’s theory may be improved by the help (...) of theology, Jakobsen demonstrates the relevance of theology in philosophical and metaethical debates and argues that Christian theism offers a better explanation of morality than what Parfit’s non-naturalism does. (shrink)

The paper argues that Sergej Bulgakov's sophiology was an attempt, via antinomism or the philosophy of antinomies, to overcome the rationalism, monism, and determinism (in a word, "pantheism") of Vladimir Solov'ëv's philosophy of the Absolute understood as an abstract Trinitarianism. After detailing Solov'ëv's thought on the Trinity and Bulgakov's criticisms of it, the study then describes Bulgakov's antinomism and its application to the doctrine of God. However, it is contended that Bulgakov's antinomism ultimately falls into the same problems with pantheism (...) found in Solov'ëv and so the last part of the paper tentatively proposes resources in his work, stated in the form of a suggested "fourth (Bulgakovian) antinomy" between ousia (divine Being as such) and Sophia (the revelation in God and the world of the divine Being), that might help to avoid a collapse of God and the world by making the divine Being proper utterly transcendent and unknowable. (shrink)

The connection between ethics and theological vision has become increasingly important for ethics as we better appreciate how the moral agent is embedded in a framework that affectively and intellectually shapes her moral reasoning. Moral reasoning is always reasoning within (that is, within a moral framework, a religious worldview, and/or a set of ideological commitments). A similar framing occurs in literature, which I refer to as its “horizon.” A literary text's horizon comprises the theological and metaphysical commitments that are implied (...) by the text and that the reader relies on to make sense of it. I suggest that there is a parallel between how moral frameworks and literary horizons operate in that both shape moral judgment. I argue that in using literature as a resource for ethics, the same contemporary currents that have led us to appreciate the embeddedness of moral reasoning should also encourage us to give more careful attention to the theological or metaphysical vision implied by a text. Such a “theo-ethical” reading of literature provides a richer understanding of particular moral goods and the interplay between those goods and ethical themes like agency, hope, and redemption. I substantiate this claim with a reading of William Blake's Jerusalem: The Emanation of the Giant Albion. (shrink)

This paper maintains that, for all his ethical interests, his philosophical and theological essays, political treatises and linguistic studies, Dante was primarily a poet; a poet who, moreover, believed that poetry could change the world, and that the Comedy must be read, first, as a poem. This is not a trivial point, because the Comedy remains a text that is endlessly fascinating to philosophers and theologians as well as moralists who read it for its philosophy, theology and ethics and who (...) sometimes fail to see that a poet's imagination, even one as egregiously rational as Dante's, is synthetic rather than analytic. This paper offers an examination of the moral universe of the Comedy, paying particular attention to his presentation of the virtues. It endeavours to show how Dante's entry into the moral universe is by way of beauty through the operation of love, and considers how, for Dante, the inevitability of beauty, when properly understood, opens out on to truth and goodness, which, in turn, fold back upon beauty as the Beatific Vision is reached. (shrink)

Philosophy has four forms: wonder, faith, doubt and scepticism. These are not separate categories, but separate ideal possibilities. Modern academic philosophy has fallen, for several centuries, into an error: which is the error of supposing that philosophy is only what I call doubt. Philosophy may be doubt: indeed, it is part of my argument that this is undeniably one element of, or one possibility in, philosophy; but doubt is only one of four points of the compass. In this essay I (...) indicate the nature of each point of the compass as it has been found in the history of philosophy. (shrink)

The famous and mysterious fifth century author, who wrote his works known as the Corpus Dionysiacum under the pseudonym of Dionysius the Areopagite, is one of the most controversial characters in the history of philosophy. His thought is well known for the concepts of apophatic and cataphatic theologies and hierarchy, as well as for his understanding of eros, beauty, and deification, which all greatly influenced the Areopagite’s posterity. His system is a successful amalgam of ancient philosophy and Christian doctrines. The (...) aim of this article is to examine one of these concepts, namely beauty, which will help in understanding Dionysius ’ aesthetics in its original terms, as well as in its connections to Neoplatonism. Concretely, the article focuses on the conception of the divine beauty, and is therefore articulated through two sections, which deal with beauty as an attribute of God, and the famous pair of good and beautiful. (shrink)

The essay surveys Newman's work in literary drama, from an early essay on Aristotle's Poetics to his adaptation of Roman comedies for production at the Oratory School, in order to approach his affinities with Hans Urs von Balthasar's theological dramatic theory. Newman does not find a Balthasarian theo-drama via literary drama – perhaps because he was not properly exposed to medieval religious drama – but scattered dramatic analogies in his history writing suggest that he undertakes a theo-drama in that genre. (...) Von Balthasar and Newman employ dramatic analogies to reject chiliastic apocalyptic and foster ‘keromatic’ apocalyptic. (shrink)