A Poetics of Postmodernism: History, Theory, Fiction

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Carpenter, Anne (2015). Theo-Poetics: Hans Urs Von Balthasar and the Risk of Art and Being. University of Notre Dame Press. pp.82–116. ISBN 978-0-268-07706-8. Theopoetics makes significant use of "radical" and "ontological" metaphor to create a more fluid and less stringent referent for the divine. One of the functions of theopoetics is to recalibrate theological perspectives, suggesting that theology can be more akin to poetry than physics. It belies the logical assertion of the principle of bivalence and stands in contrast to some rigid Biblical hermeneutics that suggest that each passage of scripture has only one, usually teleological, interpretation. The dismissal of the aesthetic as a living part of language has turned the academic enterprise of biblical studies and theology into a language more at home with lawyers than poets. Theopoetics is the art of using words and thoughts that speak to the reader in an aesthetic and existential way to inspire spirituality in the reader. Docherty, T. (1989). Review of Postmodernist Fiction by Brian McHale and What Fiction Means by Bent Nordhiem. The Review of English Studies, 160, 597–598.

Hart, David Bentley (2003). The Beauty of the Infinite: The Aesthetics of Christian Truth. Eerdmans Publishing.

Gregory, M. (2010). Redefining ethical criticism: the old vs. the new. Journal of Literary Theory, 4, 273–301. McHale, B., & A. Neagu. (2006). Literature and the postmodern: a conversation with Brian McHale. Kritikos: an international and interdisciplinary journal of postmodern cultural sound, text and image. http://intertheory.org/neagu.htm. Accessed 20 June 2013.

Bronsink, Troy (2013), Drawn In: A Creative Process For Artists, Activists, and Jesus Followers, Paraclete, ISBN 1557258716 Harpham, G. (1995). Ethics. In F. Lentricchia & T. McLaughlin (Eds.), Critical Terms for Literary Study (pp. 387–405). Chicago: University of Chicago Press. McHale, B. (2008). 1966 nervous breakdown; or, when did postmodernism begin? Modern Language Quarterly, 69(3), 391–413. Regarding catharsis as the defining function of tragedy (1449b 28), Aristotle expects highly of the educative function of poetic literature and claims the response of one who is drawn into the experience of a tragedy is first of all to feel fear and pity (1452a 2; 1452b 1; 1452b 34). In the Nicomachean Ethics, Aristotle holds moral virtue as the result of habit (1103a 15), and moderate sensibility (including pity and fear), as important moral virtues, can reasonably be cultivated, refined and elevated by habitual exposure to tragedy. According to Aristotle, the imitation of an action in a tragedy, by producing the fear and pity we feel, ends in a ritual purification of our feelings from some polluting impiety, thus to temper and reduce them to a moderate measure, and finally to be helpful for the social life. Keller, Catherine (2003), The Face of the Deep: A Theology of Becoming, Routledge, ISBN 0-415-25649-6In recent times there has been a revitalized interest with new work being done by two schools of thought in theopoetics. May, Melanie A (1995), A Body Knows: A Theopoetics of Death and Resurrection, Continuum International Publishing, ISBN 0-8264-0849-4 The other school of thought values the philosophical transcendentals as informed by classical theology. [2] It is led by individuals such as Anne M. Carpenter of St. Mary’s College, [3] California, and Richard Viladesau [4] of Fordham University, with contributions from Brian Nixon of Veritas International University. [5] This school of theo-poetics is influenced by the thought of Hans Urs von Balthasar as informed by a range of thinkers as divergent as Gregory of Nyssa, Thomas Aquinas, Maximus the Confessor, Dietrich Richard Alfred von Hildebrand, David Bentely Hart [6] and Pavel Florensky. [7] Description [ edit ] Cruz-Villalobos, Luis (2020). Pauper God. Theographies. Santiago de Chile: Independently Poetry [5] Constructing postmodernism with incredulity to metanarrative: a comparative perspective on McHale’s and Hutcheon’s postmodern poetics