Sense and Spirituality: The Arts and Spiritual Formation, by James McCullough
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Sense and Spirituality: The Arts and Spiritual Formation, by James McCullough
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There is growing interest in the relationship between the arts and Christian faith. Much has been written about the arts and theology and the place of the arts in church life. Not as much has been written, however, about how the arts might actually advance spiritual formation in terms of the cumulative effect of religious experience and intentional practices. This book provides a modest step forward in that conversation, a conversation between theological aesthetics and practical theology. Understanding aesthetics as "the realm of sense perception" and spiritual formation as "growing capacities to participate in God's purposes" James McCullough suggests how these dynamics can mutually enhance each other, with the arts as an effective catalyst for this relationship. McCullough proposes an analysis of artistic communication and explores exciting examples from music, poetry, and painting, which render theoretical proposals in concrete terms. This book will engage both those new to the arts and those already deeply familiar with them.
Sense and Spirituality: The Arts and Spiritual Formation, by James McCullough- Amazon Sales Rank: #1716199 in Books
- Published on: 2015-06-02
- Released on: 2015-06-02
- Original language: English
- Number of items: 1
- Dimensions: 8.50" h x .37" w x 5.50" l, .43 pounds
- Binding: Paperback
- 146 pages
Review ''What is art? How is it formed? What does it do? Does it, or can it, illuminate, animate, express, and catalyze spirituality--the perception and experience of the presence of God? McCullough answers all these questions, but explains as well how each person who understands the answers will have much to do--much attention, much contemplation, much silence. Indeed, McCullough plumbs the depth of puzzlement of the arts and the wonderful enlightenment of spirituality.''--James W. Sire, former editor of InterVarsity Press ''Just as Martin Thornton and Diogenes Allen rediscovered theology's inherent relation to Christian spirituality, so James McCullough here does the same for the theology and art conversation. Heeding T. S. Eliot's call to transform 'esthetic sensibility . . . into spiritual perception, and spiritual perception . . . into esthetic sensibility,' McCullough deftly calls attention to the elephant in the aesthetics seminar room: the way that art catalyzes spiritual growth.''--Matthew Milliner, Associate Professor of Art, Wheaton College --Wipf and Stock Publishers
About the Author James McCullough is an adjunct instructor at Lindenwood University. He has published articles on the music of Anton Bruckner as well as on the art of Graham Sutherland and Makoto Fujimura.
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1 of 1 people found the following review helpful. Not for a "general audience"; academics may want to read the dissertation. By Durough James McCullough recently received his PhD from St. Andrews, and //Sense and Spirituality: The Arts and Spiritual Formation// comes out of his dissertation (“//Aesthesis// and //Ascesis//: The Relationship between the Arts and Spiritual Formation,” 2013). The notes, “This book began its life as a doctoral dissertation, and … has undergone extensive editing and rewriting in order to make it readable and indeed palatable for a general audience” (xvii); however, McCullough states that this work “submits itself for approval and approbation…first and foremost, to the growing body of scholars and practitioners in the field of theological aesthetics” and “[s]econdly…to those in practical theology” (xv). I’m not certain that it has indeed been reworked for a “general audience”; it maintains the form, function, and readability of an academic thesis, not something one would generally pick up at a bookstore if interested in the arts and spiritual formation. However, not having read the actual dissertation, I am unable to compare and contrast notable differences and distinctions that may prove beneficial in determining which may be the most helpful for the intended theologian reader: the dissertation or //Sense and Spirituality//. For what it’s worth, given the brevity and lack of depth in “Part II: Practical Application,” it is my assumption that the dissertation would be the better route.Part I: Theoretical FrameworkMcCullough simplifies “//aesthesis// and //ascesis//” into “//sense// and //spirituality//,” stating that his agenda is “to explore how skills in sensory perception with those related to ascetical development or spiritual formation, and how this dialectical relationship can be mediated, enhanced, or //catalyzed// through encounters with the arts” (9). The thesis is belabored and restated a number of times (academic filler material), but this is an important discussion to be had. How does art catalyze sense and spirituality “aimed toward progressive spiritual growth” (45)? McCullough takes roughly fifty pages to get to the point of trying to define art (craft, content, and context [Figure 03, p. 43]) and stating—in my own oversimplification—something that is quite well-known: the more one understands art, the more one may appreciate art, as well as the more one may gain from art. In this context, the gain intended is spiritual growth.Part II: Practical ApplicationMcCullough provides three examples in an attempt to demonstrate a practical application of his thesis: poetry (//Four Quartets//, T. S, Eliot), painting (//The Four Holy Gospels//, Makoto Fujimura), and music (//Seven Last Words from the Cross//, James MacMillan). Each of these is briefly discussed according to its craft, content, and context. The author writes, “I do not wish to write full-blown commentaries on these works, but something more akin to liner notes for a record album” (62), which is a shame because they do not, in my opinion, provide adequate commentary to qualify as examples of practical application of the original thesis (the chapter on Eliot provides only a hint of spirituality and does not appear to connect the reader with enough evidence to support its inclusion, though the subject matter itself certainly would if given greater attention; Fujimura’s is the most connected of the three, providing decent commentary on the purpose, method, and meaning behind the project, though the black and white images in a paperback do not help the reader; and MacMillan’s is, I believe, a poor example to use because of the tradition within which the music is composed, already easily recognized as “sacred” music intended for spiritual growth, meaning that the example appears to be stating the obvious). His conclusion, with which I concur: “Art is an irreducible amalgam of //what// is said and //how// it is said, to the point that they are inseparable” (101, emphasis original).Part III: ConclusionThis “Part” is only five pages, restating and concluding in the tradition of this type of writing.Truthfully, there’s some helpful material here despite its redundancy and what has already been noted concerning its practical application; however, much more work needs to be done in order to make it more accessible for a general audience. I’m now more interested in what the dissertation may have to offer.
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