The Monthly Catalogue


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Jonathan Edwards’s Vision of Reality


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Since the publication of Sang Hyun Lee's revolutionary commentary, The Philosophical Theology of Jonathan Edwards, scholars have considered the possibilities of understanding Jonathan Edwards's thought in terms of dispositional laws, forces, and habits. While some scholars reject the notion of a dispositional ontology in Edwards, others have taken the concept of disposition in his thought beyond the usage the Northampton minister ever indicated, especially with respect to soteriological considerations. The preacher of "Sinners in the Hands of an Angry God" is made to be an inclusivist, if not a crypto-universalist. Jonathan Edwards's Vision of Reality substantiates that Edwards, in an effort to combat deistic and materialistic Enlightenment paradigms, employs dispositions in his philosophy, but that his radical theocentrism and Calvinistic particularism established its boundaries within his apologetical reconsideration of spatiotemporal and metaphysical reality. Within his "spiritual vision" of reality, Edwards leaves no stone unturned: history and even the reprobate find inherent value and a positive functional role not only in God's program of self-glorification but as manifestations of divine being--the damned are "deformities" in God. The logic of Edwards's theocentric vision of reality pushes his ideas to the limits of acceptable Reformed orthodoxy, and sometimes beyond those limits.




Samuel Richardson as Anonymous Editor and Printer


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During the first two decades of his career, Richardson’s role as printer was hardly limited to setting the type for the periodicals that issued from his shop. Perhaps the most glaring evidence of his intervention in producing text is the fact that both The True Briton (1723-24) and The Weekly Miscellany (1732-41) just happen to have letters supposedly from women who protest the legal restraints against their participation in the public sphere. Neither the Duke of Wharton, the owner of The True Briton, nor William Webster, the desperately impecunious producer of The Weekly Miscellany, launched their journals with the objective of advancing radical views about political equality for women. But almost inadvertently this middle-aged, rotund printer at Salisbury Court was quietly feminizing journalism. After his first experiments in Wharton’s anti-Walpole journal he developed his satiric powers in the Miscellany by creating not only his own feisty counterpart to Pope’s coquette Belinda but even partnering with Sarah Chapone’s subversive Delia. As an outlier in what was perceived to be a corrupt, predatory political world, Richardson readily assumed a female voice to express his resistance.




The Encyclopaedia Britannica


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