Lived Theology

DuBose, Todd

doi:10.1007/978-1-4614-6086-2_390

Cited by 1 publication

(2 citation statements)

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“…Theology, here, refers particularly to ultimate beliefs as they are lived out. "Lived Theology," as Todd Dubose defines it, "is the enactment of that, which is most significant to us at any given moment and as lived out in our everyday existence, rather than the systemization of creedal propositions of any given faith tradition" [9]. Therefore, while Heidegger's existentialism provides a philosophical frame for engaging with Haneke's film, we turn to a "lived theology" strategy for answers.…”

Section: Introductionmentioning

confidence: 99%

“…8 Heidegger outlines three concrete realities of death that constitute Dasein: each person must own their death, death is an indefinite certainty for us all, and nothing supersedes the significance or priority of death for us. 9 For the fuller context, consider how Heidegger closes his section on 'being-towards-death': "In anticipating [zum] the indefinite certainty of death, Dasein opens itself to a constant threat arising out of its own 'there.' In this very threat Being-towards-the-end must maintain itself.…”

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confidence: 99%

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Losing Touch: A Theology of Death for Michael Haneke’s Amour

Worley

2016

Religions

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This proposed theology of death for Michael Haneke's Amour, a fraught but poignant piece of cinema, will employ Martin Heidegger's existentialism to reframe the ethical structure of the film and apply a "lived theology" rejoinder to its perceived hopelessness. The proposal will address the question of ethics in relation to Haneke's cinema, in particular his seemingly nihilistic perspective and confrontational style. To do so, it will revisit the film itself and examine the ways that Georges and Anne's love is tested. Principally, we examine the film's great question, which-in the filmmaker's own words-is: "How do I cope with the suffering of a loved one?" With aid from the theologian Dietrich Bonhoeffer, this 'lived theology' proposal will attempt to give an account of love's irrepressible strength in the midst of even astounding suffering. While Heidegger's ethic of resoluteness calls for interiority and solitude, Bonhoeffer's account of death more satisfactorily invokes a transcendent summons contained within our own pledges to loved ones. Such a theological reading of Haneke's Amour will draw two distinct conclusions: first, the film exposes the superficiality of any hoped-for solitude or escape from a loved one's death, and secondly, it demonstrates that the mutuality of authentic love entails impossible sacrifices.

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Section: Introductionmentioning

confidence: 99%

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confidence: 99%