Band 21, Heft 1-2

Avantgarde in Halle: The Invention of Aesthetics and the Aestheticization of Christianity. The foundation of scholarly aesthetics by the Halle philosopher Alexander Gottlieb Baumgarten and Georg Friedrich Meier in the middle of the 18th century took place within a milieu that was shaped by both pietism and the Enlightenment. Martin Fritz demonstrates that aesthetics in Halle itself can be considered a synthesis of pietism and Enlightenment ideas. The sensualization of basic Christian concepts is of eminent relevance for these aesthetics, in order to reinvent the pietistic striving for intensive religious experiences through such „aestheticization.“ The romantic idea of „Kunstreligion“ (art religion), which continues to be significant in cultural life today, is also based on this programmatic notion of aestheticization. Building on this historical background, this article’s concluding systematic considerations argue for a theological revaluation of pertinent contemporary cultural phenomena.

This paper analyzes the hitherto neglected political philosophy (Staatsphilosophie) contained in Schelling’s Berlin lectures on the philosophy of mythology and of revelation in the context of the complex and politically charged debates of the German Vormärz period. It will be shown that, in his political philosophy, the Berlin Schelling rejects social contract models of the state and follows conservative theorists who conceive of the state as a collective order that supersedes the individual, while at the same time preserving the freedom of the individual and rejecting religious legitimizations of the state. Schelling’s theory of the state is characterized by its distinctive internal tensions and by its multidimensionality. This complexity of his theory of the state helps to account for the diverse range of receptions and assessments of his political philosophy, both among his contemporaries and by subsequent commentators

The Response of Debrecen New Orthodoxy to Liberal Theology in Hungary. The Reformed Church of Hungary was not exempt from the impact of various theological schools of Western Europe during the nineteenth century. The historical theological school of Tübingen, the Swiss liberal and moderate theology and the Dutch ‘moderne theologie’ held a great sway on Hungarian Protestantism in particularly Reformed Theology. Parallel to this development another and distinct trend appeared as a response to the challenges posed by liberal theology, which preferred traditional theological stances. In consequence not only liberal theology but also orthodox, evangelical, and pietist theologies were transferred from England, Scotland, Switzerland, Germany and France to Hungary. While Germany experienced already in the 1840s and 1850 serious theological debates, Hungarian Protestantism was late to encounter a similar debate due to the political-historical situation. It is only after the Ausgleich (1867), the Agreement between Austrian and Hungarian aristocracy that in the era of political and national freedom theological debates surfaced and became really intense. The fiercest theological debate unfolded between the liberal theologians led by Mór Ballagi, a professor in Budapest, and the neo-orthodoxy of Debrecen Reformed University where Imre Révész sen., a local minister and Ferenc Balogh, professor of Dogma and Church History became the leading voices. This pioneering study seeks to demonstrate how the response of Debrecen neo-orthodoxy came into being in response to extremely liberal form of theology, which was organised and promoted by Mór Ballagi (Moritz Bloch), a convert from Judaism to Christianity

Connections between Roman Catholic Modernism and the artistic culture of the fin de siècle have received little attention from scholars, as compared to the prominence accorded intellectual, social, and political issues. Felix Klein is one of a handful of those who worked for intellectual renewal who closely followed developments in literature and music, interpreting those developments in a way that favored an agenda of reconciling Catholicism with modernity. In two collections of essays, Nouvelles tendances en religion et en literature (1892) and Autour du dilettantisme (1895) Klein expressed hopes for a return to Catholicism among a cultural elite which I turn would have a larger impact upon a broad public.

With the 1901 publication of his Les Mythes babyloniens et les premiers chapitres de la Genèse, the French Catholic scholar Alfred Loisy examined carefully parallels between Babylonian literature and the Book of Genesis. In German scholarship, this had been a growing fascination since at least the 1895 publication of Hermann Gunkel’s Schöpfung und Chaos in Urzeit und Endzeit. Loisy’s use of the concept of “Myth” provides an important window into the appropriation of German scholarship on religion and the Bible into the French scholarly world. Through Loisy’s work, what had been primarily a German Protestant academic discussion became one of the matchsticks that ignited what would become known as the Roman Catholic Modernist Crisis. This present article situates Loisy’s appropriation of “Myth” from the German scholarship he mastered within the proximate cultural, historical, and religious context that became Roman Catholic Modernism

Around 1900 the relation between religion and sexuality became a favorite subject of art. Munich was the place where some of the most relevant works of art where produced at this time. In 1905 the opera “Salome” was composed by the Munichborn Richard Strauß, based on Oscar Wilde’s drama and dealing with the relation between sexual love, religion and death. In quite a different way Oscar Panizza’s “Liebeskonzil” is concerned with the same topic. Here it is not the decadent court of Herodes with John the Baptist as religious prophet and Salome falling in deadly love with him but the oversexualized Vatican at the time of Alexander Borgia punished by God with the syphilis. Religion and sexuality also form the background of the Wedekind’s unfinished “Ella”, an early stage of the development of his famous “Lulu”, and they play a central role in Thomas Mann’s novel “Gladius Dei”, a byproduct of his drama “Fiorenza”. Here sexuality and art are represented by the Florentine court of Lorenzo de’ Medici whereas the friar Savonarola is the representative of the religious opposition

In this article, I respond to John Betz (University of Notre Dame, USA) who has recently rejected claims that I have made about Erich Przywara’s anti- Semitism and his relationship to Nazi era ideology. Although I admire much of Przywara’s theology and have great sympathy for the teaching about the analogy of being, in this article I address some of the problems of Przywara’s work. I address literature from Przywara on the Jews where he talks about the essence of “the Jew” as “restless” and “revolutionary,” and where he brings up the “wandering Jew” theme or claims Judaism is an “insolent disturber” of the (German) “folkdom.” Przywara’s rejection of “Jewish messianism” and his claims about the “basic tension of the Jew” are also addressed. I analyze his conception of the essence of “the Jew” as, among other things, a “rising will of destruction” and his claim that “Christianity” ultimately becomes the “enemy” of Judaism. Beyond these things, Przywara’s desire to “overcome” Judaism with the right “weapons” is addressed. I also draw attention to his rejection of “Jewish capitalism” and his justification of “the hatred towards the Jews in world history.” In addition to this, his use of ideologically charged Nazi terminology, such as “host-peoples,” and his support of Catholic integralism in Nazi Germany are addressed. Furthermore, Przywara’s remarks (to a leading Nazi representative and ideologue, Hanns Johst) on “the positive sense” of the German “movements” (i. e. National Socialism) in the 1930s are presented. I also show that Przywara”s work was praised by a leading representative and ideologue of National Socialism (Otto Dietrich). With this, I address the internal Nazi correspondences on the very influential German Catholic Jesuit journal titled Stimmen der Zeit

This essay traces the influence of the nineteenth century Swiss historical school led by the historian Jacob Burckhardt upon the thought of the theologian Karl Barth. Barth utilizes the unseasonable thoughts of Burckhardt and Nietzsche to critique the optimistic philosophy of history based in Berlin. Burckhardt’s suspicion of power is especially important for Barth as they both disagree with Nietzsche’s fascination with power and Hegel’s optimistic historical reason. However, Barth’s mature ideas about history are almost exclusively focused on God’s revelation in Christ, distancing himself from Burckhardt’s overtly pessimistic reading of history. The paper closes asking if Barth ever successfully navigates away from Hegelian historical reason