Peter J. Leithart

The presentation of the first sheaf (Leviticus 23:9-13) provides a neat little allegory of redemption.  The first sheaf is presented on the day after the sabbath, the day of resurrection.  It is the “beginning” of the harvest (v. 10), and Leviticus uses the same word as is . . . . Continue Reading »

When Paul talks about the “fullness of time,” he’s likely alluding back to the calendar of Leviticus 23.  Pentecost is calculated from the day of the first sheaf, and the time is described as a “complete” set of sabbaths.  The word translated as . . . . Continue Reading »

Adorno neatly sums up the intention and result of Kant’s aesthetics in a cople of lines: “the significance of Kantian subjectivism as a whole lies in its objective intention, its attempt to salvage objectivity by means of an analysis of subjective moments.” And, noting that Kant . . . . Continue Reading »

1 Peter 1:3: Blessed by the God and Father of our Lord Jesus Christ, who according to His great mercy has caused us to be born again to a living hope through the resurrection of Jesus Christ from the dead. As Pastor Sumpter mentioned in the sermon this morning, Peter’s prayer is a . . . . Continue Reading »

“How can a man be born again when he is old?  Can he enter a second time into his mother’s womb?” Nicodemus’ way of putting the question sounds childish; but it’s a common question.  My life is a mess, and what’s done cannot be undone.  Then along comes . . . . Continue Reading »

Carroll again: He explains that much recent film criticism takes its cues from the effort to maximize aesthetic satisfaction.  This is evident in the respect given to “transgressive” films that overturn “what are called the codes of Hollywood filmmaking”: “Within . . . . Continue Reading »

Noel Carroll argues that anti-intentionalist structuralist criticism aims to maximize aesthetic enjoyment, at the expense of all other purposes of art and literature.  This, he argues, “has a very ‘consumerist’ ring to it.  In Buberesque lingo, it reduces our relation to . . . . Continue Reading »

In case you got bogged down and missed the plot, Thornton Wilder helpfully summarizes what he describes as Joyce’s “Night Book”: “We overhear and oversee [the hero] in bed above his tavern at the edge of Dublin.  His conscience is trying him for some obscure . . . . Continue Reading »

In his treatise Contra Gentiles , Athanasius reproduces an argument from the Phaedrus that provides the immortality of the soul.  Anything that has to be moved by something else is mortal and finite; whatever moves of itself is immortal, and immortally mobile.  What is most fully mobile . . . . Continue Reading »

Adorno sees disinterestedness as a necessary stage in the development of aesthetic experience, but says that it has to be transcended by a recognition of the “interest inherent in disinterestedness.” Disinterestedness applies only to certain kinds of works, he says.  Try reading . . . . Continue Reading »