Bruce Ellis Benson

What is the proper relationship between human beings and the more-than-human world? This philosophical question, which underlies vast environmental crises, forces us to investigate the tension between our extraordinary powers, which seem to set us apart from nature, even above it, and our thoroughgoing ordinariness, as revealed by the evolutionary history we share with all life. The contributors to this volume ask us to consider whether the anxiety of unheimlichkeit, which in one form or another absorbed so much of twentieth-century philosophy, might reveal not our homelessness in the cosmos but a need for a fundamental belongingness and implacement in it.

What is the proper relationship between human beings and the more-than-human world? This philosophical question, which underlies vast environmental crises, forces us to investigate the tension between our extraordinary powers, which seem to set us apart from nature, even above it, and our thoroughgoing ordinariness, as revealed by the evolutionary history we share with all life. The contributors to this volume ask us to consider whether the anxiety of unheimlichkeit, which in one form or another absorbed so much of twentieth-century philosophy, might reveal not our homelessness in the cosmos but a need for a fundamental belongingness and implacement in it.

The New Phenomenology: A Philosophical Introduction is the first available introduction to the group of philosophers sometimes associated with the so-called ‘theological turn’ in contemporary French thought. This book argues that there has not been a ‘turn’ to theology in recent French phenomenology, but instead a decidedly philosophical reconsideration of phenomenology itself. Engaging the foundational works of Emmanuel Levinas and Michel Henry, as well as later works by Jacques Derrida, Jean-Luc Marion and Jean-Louis Chretien, the book explores how these thinkers offer a coherent philosophical trajectory – the ‘New Phenomenology.’ Contending that New Phenomenology is of relevance to a wide range of issues in contemporary philosophy, the book considers the contributions of the new phenomenologists to debates in the philosophy of religion, hermeneutics, ethics, and politics. With a final chapter looking at future directions for research on possible intersections between new phenomenology and analytic philosophy, this is an essential read for anyone seeking an overview of this important strand of contemporary European thought.

The New Phenomenology: A Philosophical Introduction is the first available introduction to the group of philosophers sometimes associated with the so-called ‘theological turn’ in contemporary French thought. This book argues that there has not been a ‘turn’ to theology in recent French phenomenology, but instead a decidedly philosophical reconsideration of phenomenology itself. Engaging the foundational works of Emmanuel Levinas and Michel Henry, as well as later works by Jacques Derrida, Jean-Luc Marion and Jean-Louis Chretien, the book explores how these thinkers offer a coherent philosophical trajectory – the ‘New Phenomenology.’ Contending that New Phenomenology is of relevance to a wide range of issues in contemporary philosophy, the book considers the contributions of the new phenomenologists to debates in the philosophy of religion, hermeneutics, ethics, and politics. With a final chapter looking at future directions for research on possible intersections between new phenomenology and analytic philosophy, this is an essential read for anyone seeking an overview of this important strand of contemporary European thought.

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.

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.

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.