Bruce Benson

Although Breton barely mentions the term “metanoia,” it well describes the radical change that takes place for anyone who adopts the logic of the cross. In effect, that logic results in a self that is radically de-centered. Moreover, to embrace that logic is to give up the demand for both reasons and signs. Arguing for a radicalconception of kenosis, Breton insists that it is a true emptying that remains powerless and senseless in light of any worldly logos and, as such, can only appear to be folly. Thus, the fool for Christ is truly a fool.

What do the philosophers Friedrich Nietzsche, Jacques Derrida and Jean-Luc Marion have in common with Christianity? Surprisingly, they are all concerned about idolatry, about the tendency we have to create God in our own image and about what we can do about it. Can we faithfully speak of God at all without interposing ourselves? If so, how? Bruce Ellis Benson explores this common concern by clearly laying out the thought of each of these postmodern thinkers against the background of modern philosophers such as Descartes, Locke and Hume and in light of the rise of phenomenology as developed by Husserl and Heidegger. All these thinkers he brings into conversation with a full range of biblical teaching. The result is an illuminating survey of some key postmodern thinkers and profound insight into the nature of conceptual idolatry. Benson also exposes some of the limitations inherent in postmodern attempts to provide a purely philosophical solution to the problem of ideological idolatry. Ultimately, he argues, there is a need for something greater than human philosophy, religion or theology--namely, the biblical revelation of God in Jesus Christ.

Norman Wirzba, Bruce Ellis Benson, and an international group of philosophers and theologians describe how various expressions of philosophy are transformed by the discipline of love. What is at stake is how philosophy colors and shapes the way we receive and engage each other, our world, and God. Focusing primarily on the Continental tradition of philosophy of religion, the work presented in this volume engages thinkers such as St. Paul, Meister Eckhart, Kierkegaard, Husserl, Heidegger, Ricoeur, Derrida, Marion, Zizek, Irigaray, and Michele Le Doeuff. Emerging from the book is a complex definition of the wisdom of love which challenges how we think about nature, social justice, faith, gender, creation, medicine, politics, and ethics

This book is an important contribution to the philosophy of music. Whereas most books in this field focus on the creation and reproduction of music, Bruce Benson's concern is the phenomenology of music making as an activity. He offers the radical thesis that it is improvisation that is primary in the moment of music making. Succinct and lucid, the book brings together a wide range of musical examples from classical music, jazz, early music and other genres. It offers a rich tapestry incorporating both analytic and continental philosophy, musicology and performance-practice issues. It will be a provocative read for philosophers of art and musicologists and, because it eschews technicality, should appeal to general readers, especially those who perform.

Bruce Ellis Benson puts forward the surprising idea that Nietzsche was never a godless nihilist, but was instead deeply religious. But how does Nietzsche affirm life and faith in the midst of decadence and decay? Benson looks carefully at Nietzsche's life history and views of three decadents, Socrates, Wagner, and Paul, to come to grips with his pietistic turn. Key to this understanding is Benson's interpretation of the powerful effect that Nietzsche thinks music has on the human spirit. Benson claims that Nietzsche's improvisations at the piano were emblematic of the Dionysian or frenzied, ecstatic state he sought, but was ultimately unable to achieve, before he descended into madness. For its insights into questions of faith, decadence, and transcendence, this book is an important contribution to Nietzsche studies, philosophy, and religion

How do the arts inform and cultivate our service to God? In this addition to an award-winning series, distinguished philosopher Bruce Ellis Benson rethinks what it means to be artistic. Rather than viewing art as practiced by the few, he recovers the ancient Christian idea of presenting ourselves to God as works of art, reenvisioning art as the very core of our being: God calls us to improvise as living works of art. Benson also examines the nature of liturgy and connects art and liturgy in a new way. This book will appeal to philosophy, worship/liturgy, art, music, and theology students as well as readers interested in engaging issues of worship and aesthetics in a postmodern context, including Christian artists and worship leaders.