Bruce Benson

Words of Life is the sequel and companion to Phenomenology and the "Theological Turn," edited by Dominique Janicaud, Jean-Francois Courtine, Jean-Louis Chrétien, Michel Henry, Jean-Luc Marion, and Paul Ricoeur. In that volume, Janicaud accuses Levinas, Henry, Marion, and Chrétien of "veering" from phenomenological neutrality to a theologically inflected phenomenology. By contrast, the contributors to this collection interrogate whether phenomenology's proper starting point is agnostic or atheistic. Many hold the view that phenomenology after the theological turn may very well be true both to itself and to the phenomenological "things themselves." In one way or another, all of these essays contend with the limits and expectations of phenomenology. As such, they are all concerned with what counts as "proper" phenomenology and even the very structure of phenomenology. None of them, however, is limited to such questions. Indeed, the rich tapestry that they weave tells us much about human experience. Themes such as faith, hope, love, grace, the gift, the sacraments, the words of Christ, suffering, joy, life, the call, touch, listening, wounding, and humility are woven throughout the various meditations in this volume. The contributors use striking examples to illuminate the structure and limits of phenomenology and, in turn, phenomenology serves to clarify those very examples. Thus practice clarifies theory and theory clarifies practice, resulting in new theological turns and new life for phenomenology. The volume showcases the work of both senior and junior scholars, including Jean-Luc Marion, Jean-Yves Lacoste, Kevin Hart, Anthony J. Steinbock, Jeffrey Bloechl, Jeffrey L. Kosky, Clayton Crockett, Brian Treanor, and Christina Gschwandtner-as well as the editors themselves.

Rather than being concerned with questions of aesthetic standards, Ingarden focuses on the question of where a musical work exists. Thus he attempts to draw clear distinctions between musical works, scores, and performances. Yet, while these distinctions seem questionable even from the standpoint of classical music, in jazz, which operates under a paradigm in which improvisation is primary, they prove far more problematic. A crucial assumption behind Ingarden's view of music is that musical performance is essentially a kind of faithful reproduction. But the question is: why does Ingarden assume this musical model? The only way to answer this question is by examining some of the basic presuppositions by which classical music functions and which Ingarden simply takes over. Although Ingarden's investigation of the musical work is usually seen as a phenomenology of music in general, precisely because Ingarden restricts his analysis to works of classical music, his conception of music turns out to be a highly limited one. In the end, the issue of aesthetic value — which Ingarden claims should come after a phenomenology of music — turns out to be what his investigation of music assumes

All of us working in continental philosophy of religion can be grateful to James K. A. Smith for his call to consider which practices will best further the “health” of the burgeoning subdiscipline of continental philosophy of religion. Given that he offers his suggestions “in the spirit of ‘conversation starters,’” my response is designed to continue what I hope will be an ongoing conversation. With that goal in mind, I respond to Smith by considering not only the practicality of each suggestion but also whether adopting practices he suggests would actually improve the health of the subdiscipline.

This collection of ground-breaking essays considers the many dimensions of prayer: how prayer relates us to the divine; prayer's ability to reveal what is essential about our humanity; the power of prayer to transform human desire and action; and the relation of prayer to cognition. It takes up the meaning of prayer from within a uniquely phenomenological point of view, demonstrating that the phenomenology of prayer is as much about the character and boundaries of phenomenological analysis as it is about the heart of religious life.The contributors: Michael F. Andrews, Bruce Ellis Benson, Mark Cauchi, Benjamin Crowe, Mark Gedney, Philip Goodchild, Christina M. Gschwandtner, Lissa McCullough, Cleo McNelly Kearns, Edward F. Mooney, B. Keith Putt, Jill Robbins, Brian Treanor, Merold Westphal, Norman Wirzba, Terence Wright and Terence and James R. Mensch. Bruce Ellis Benson is Associate Professor of Philosophy at Wheaton College. He is the author of Graven Ideologies: Nietzsche, Derrida, and Marion on Modern Idolatry and The Improvisation of Musical Dialogue: A Phenomenology of Music. Norman Wirzba is Associate Professor and Chair of the Philosophy Department at Georgetown College, Kentucky. He is the author of The Paradise of God and editor of The Essential Agrarian Reader.

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.