Di Fuccia examines the theological import of Owen Barfield's poetic philosophy. He argues that philosophies of immanence fail to account for creativity ... Barfield's poetic philosophy gestures toward a theological vision of poiesis proper, wherein...
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Staatsbibliothek zu Berlin - Preußischer Kulturbesitz, Haus Unter den Linden
Fernleihe:
uneingeschränkte Fernleihe, Kopie und Ausleihe
Di Fuccia examines the theological import of Owen Barfield's poetic philosophy. He argues that philosophies of immanence fail to account for creativity ... Barfield's poetic philosophy gestures toward a theological vision of poiesis proper, wherein creativity is envisaged as neither purely passive nor purely active, but middle. Creativity, thus, is not immanent but mediated, a participation in God's primordial poiesis.--cover Aesthetic participation -- Sociological participation -- Theological participation
Di Fuccia examines the theological import of Owen Barfield's poetic philosophy. He argues that philosophies of immanence fail to account for creativity ... Barfield's poetic philosophy gestures toward a theological vision of poiesis proper, wherein...
mehr
Staatsbibliothek zu Berlin - Preußischer Kulturbesitz, Haus Potsdamer Straße
Signatur:
10 A 11672
Fernleihe:
uneingeschränkte Fernleihe, Kopie und Ausleihe
Di Fuccia examines the theological import of Owen Barfield's poetic philosophy. He argues that philosophies of immanence fail to account for creativity ... Barfield's poetic philosophy gestures toward a theological vision of poiesis proper, wherein creativity is envisaged as neither purely passive nor purely active, but middle. Creativity, thus, is not immanent but mediated, a participation in God's primordial poiesis.--cover Aesthetic participation -- Sociological participation -- Theological participation