Aquinas on Beauty explores the nature and role of beauty in the thought of Thomas Aquinas. Beginning with a standard definition of beauty provided by Aquinas, it explores each of the components of that definition. The result is a comprehensive account of Aquinas’s formal view on the subject, supplemented by an exploration into Aquinas’s commentary on Dionysius’s Divine Names, including a comparison of his views with those of both Dionysius and those of Aquinas’s mentor, Albert the Great. The book also highlights the tight connection in Aquinas’s thought between aesthetics and ethics, and illustrates how Aquinas preserves what is best about aesthetic traditions preceding him, and anticipates what is best about aesthetic traditions that would follow, marrying objective and subjective aesthetic intuitions and charting a kind of via media between the common extremes.

In the beginning was beauty, and beauty was with God, and beauty was God. If the tradition of divine names, that (in its Christian form) originates with Dionysius the Areopagite and includes among its ranks Albert the Great, Thomas Aquinas, and others, is correct in identifying God with the name beauty, then repurposing the Prologue to John's Gospel in this way seems hardly controversial. For if beauty is a divine name then not only is it fitting to say God is beautiful, but it is equally fitting to say that God is beauty itself. However, like most arguments from fittingness-that is to say, arguments whose veracity derives from the congruency, proportion, or harmony between the various elements of a proposition or idea rather than from some categoricallyhigher, or univocally determinate, logical necessity-the simplicity of its utterance stands in stark contrast to the complexity of its intelligible content. It is the aim of the present work is to explore what it means to say that beauty is a divine name.

Addressing contemporary interest in the relationship between metaphysics and ethics, as well as the significance of beauty for ethics, Alice Ramos presents an accessible study of the transcendentals and provides a dynamic rather than static view of truth, goodness, and beauty.

What we moderns have forgotten, the ancients knew well: true beauty heals the soul, draws us to God, and yields lasting happiness. Rich with the wisdom of Plato, Augustine, Aquinas, and St. John Paul II, these pages unpack perennial truths about beauty and rivet them into your soul, opening the eyes of your understanding to the beauty all around us. Offering an abundance of accessible examples, author John Mark Miravalle demonstrates that beauty is neither in the eye of the beholder, nor for the cultivated, the dreamer, or the “hopeless romantic” alone. On the contrary, the ability to understand, recognize, and delight in beauty readies all souls for heaven — and makes it easier for us to get there. From these pages, you'll learn: Why beauty is not just a matter of opinion. The virtues we need to perceive beauty and to enjoy it. How to determine whether an artwork is truly beautiful. The respective roles of reason and emotion in appreciating beauty. How the beauty of nature testifies to God's existence . . . while rejection of God obscures nature's beauty. With the help of these pages, you'll receive fresh eyes to marvel again (or for the first time) at the beauty of nature, music, art, architecture, and, most importantly, the beauty of God, the fountainhead and exemplar of all things on earth that are beautiful.

The ಜNew Atheistsಝ are pulling no punches. If the world of nature needs a designer, they ask, then why wouldn't the designer itself need a designer, too? Or if it can exist without any designer behind it, then why can't we just say the same for the universe and wash our hands of a designer altogether? Interweaving its pursuit of the First Cause with personal stories and humor, this ground-breaking book takes a fresh approach to ultimate questions. While attentive to empirical science, it builds its case not on authoritative pronouncements of experts that readers must take on faith, but instead on a nuanced understanding of universal principles implicit in everyone's experience. Here is essential reading for all people who care about contemplating God, not exclusively as a best-explanation for the findings of science, but also as the surprising-yet-inevitable implication of our commonsense contact with reality. Augros harnesses such intellects as Plato, Aristotle, and Aquinas, ushering into the light a wealth of powerful inferences that have hitherto received little or no public exposure. The result is an easygoing yet extraordinary journey, beginning from the world as we all encounter it and ending in the divine mind.

Students of Thomas Aquinas have so far lacked a comprehensive study of his doctrine of the transcendentals. This volume fills this lacuna, showing the fundamental character of the notions of being, one, true and good for his thought. The book inquires into the beginnings of the doctrine in the thirteenth century and explains the relation of the transcendental way of thought to Aquinas's conception of metaphysics. It analyzes "Being," "One," "True," "Good" and "Beautiful" individually and discusses their importance for the philosophical knowledge of God. Medieval Philosophy and the Transcendentals: The Case of Thomas Aquinas is intended as a contribution to the question "What is philosophy in the Middle Ages?". It argues that the doctrine of the transcendentals is essential for understanding medieval philosophy.

The well-known Italian semiotician and novelist Umberto Eco discloses for the first time to English-speaking readers the unsuspected richness, breadth, complexity, and originality of the aesthetic theories advanced by the influential medieval thinker Thomas Aquinas, heretofore known principally as a scholastic theologian. Inheriting his basic ideas and conceptions of art and beauty from the classical world, Aquinas transformed or modified these ideas in the light of Christian theology and of developments in metaphysics and optics during the thirteenth century. Setting the stage with an account of the vivid aesthetic and artistic sensibility that flourished in medieval times, Eco examines Aquinas's conception of transcendental beauty, his theory of aesthetic perception or visio, and his account of the three conditions of beauty--integrity, proportion, and clarity--that, centuries later, emerged again in the writings of the young James Joyce. He examines the concrete application of these theories in Aquinas's reflections on God, mankind, music, poetry, and scripture. He discusses Aquinas's views on art and compares his poetics with Dante's. In a final chapter added to the second Italian edition, Eco examines how Aquinas's aesthetics came to be absorbed and superseded in late medieval times and draws instructive parallels between Thomistic methodology and contemporary structuralism. As the only book-length treatment of Aquinas's aesthetics available in English, this volume should interest philosophers, medievalists, historians, critics, and anyone involved in poetics, aesthetics, or the history of ideas.