The poetics of evil: a study of the aesthetic theme in theodicy

Tallon, Philip

This work proposes to look at the role of aesthetics within Christian theodicy. Though the recent theodicy literature has often displayed suspicion toward the inclusion of aesthetic criteria, I will argue that theological aesthetics can enrich the theodicy discourse and therefore should be used as a resource in responding to the problem of evil. In Part I, I will attempt to lay a foundation for an aesthetically informed theodicy by examining some of the philosophical frameworks that lie behind Christian theodicy, and seeking to illuminate a framework that allows theological aesthetics to helpfully contribute to the task of theodicy. By offering a preliminary account of theological aesthetics, I will aim to further lay a foundation for how the two areas of theology can interact. In Part II, I will look at three distinct aesthetic motifs or “themes” as they are developed by three different theodicists (one ancient and two contemporary): Augustine, Wendy Farley, and Marilyn McCord Adams. Each of the themes developed by these theodicists offers a different example of how aesthetics can reorient and enrich our perspective on theodicy. Though each, in and of itself, is incomplete, I will argue that they complement and critique one another in helpful ways, and therefore that all of them are useful for Christian theodicy.

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Divine reckonings in profane spaces: towards a theological dramaturgy for theatre, with special reference to the theo-drama of Hans Urs von Balthasar

Hart, Trevor

If from God’s perspective ‘all the world’s a stage’, theology invites one to think and act according to the view afforded from this height. To speak theologically of a ‘world stage’ as many contemporary theologians have done has required rethinking the Church’s long-established antagonism towards the stage. Of late, theology has opened up academic exchange with the drama’s understanding of ‘the great theatre of the world’. Hans Urs von Balthasar’s theo-drama in particular has given Christians a means for entering into discussion with dramatic forms. Contemporary theological engagements with ‘drama’, however, have been limited to its most literary/metaphorical aspects; less attention has been paid to the potentialities in theology’s exchange with the performance aesthetics of live theatre. Pressed to its logical ends, however, von Balthasar’s idea of a ‘theological dramatics’ and its advances made in contemporary theology, suggest the need for sustained engagement with other modes of dramaturgy, including performance theory and the stage. This thesis attempts to instantiate this theological engagement through the aesthetics of theatrical performance.

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