In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Christian Ethics and Commonsense Morality: An Intuitionist Account by Kevin JungAleksandar S. SantracChristian Ethics and Commonsense Morality: An Intuitionist Account Kevin Jung NEW YORK AND LONDON: ROUTLEDGE, 2014. 202 PP. $145.00In Christian Ethics and Commonsense Morality: An Intuitionist Account, Kevin Jung boldly constructs and defends a commonsense morality of intuition as a plausible ethical theory against both postmodern constructivist ethical systems and narrow objectivist theories. Following (...) the antifoundationalist ethical methods of postmodern approaches to reality and morality in chapter 1 and a moderate defense of realism in chapter 2, Jung attempts to save both objectivity and de-feasibility of moral realistic accounts, offering some modern reinterpretations of moral realism in chapters 3 and 4. All these forms of Wittgensteinian conceptions of realism unsatisfactorily lead to infinite regress in justifying claims because they are grounded only in the wishes, interests, and sentiments of the individual culture and society (60).After a brief introduction to the unique role of emotions in ethical theories, his investigation leads to reconciliation between objectivist naturalistic ethics [End Page 192] and theological forms of ethical theories. Theological ethicists can remain committed to intuitionism (objectivist and naturalistic forms of common morality) refined by particular religious expressions of morality (112). Intuitionism, broadly defined in chapter 7, is described as "initial appearances" (118); moral truths, according to Jung's intuitionist account, are "mediately self-evident" (128), not "immediately," because it still requires careful reflection and cognitive searching for objectivist grounds of morality. Jung's affirmation of the plausibility of intuitionism seems to be a final blow to all forms of postmodern and skeptical accounts of antifoundationalist forms of ethical theories; he successfully defends an intuitionist account of morality against its naturalist and religious critics.The last chapter offers three types of relationship between commonsense morality and Christian morality. The identity model reduces Christian morality to commonsense morality. The two-tier model considers Christian morality to be a superior form of morality with instrumental value of commonsense morality. And, finally, integration, Jung's favorite model, considers commonsense morality as neither identical nor subordinate but central to Christian morality (163). With this he affirms that Christian morality is unique not because of differences in moral beliefs but because "it is fully committed to recognizing the oneness of humanity and the universally accessible nature of basic moral truths for all human beings" (166). Jung's reflection is exceptionally insightful. Building the case as a good lawyer, he leads us to the defenseless nature of constructivist postmodern moral theories and their revisions as well as to a commitment of Christian morality to the objective commonsense morality. On this view, even heroic moral acts based on obedience to God (such as Christian sacrificial love) might be compatible with commonsense morality. It is surprising, however, that Jung never consulted or quoted Bernard Gert's account of the common morality, especially when discussing differences between moral duty and ideals (167). Additionally, Jung's argument that Christian morality is unexceptional since moral knowledge can be obtained through multiple sources in which God also reveals his will (178) does not sufficiently probe into the distinctiveness of God's sometimes radical demands of Jews/Christians (e.g., Abraham's sacrifice of Isaac), which come not from intuitionist accounts of objective natural reason or common sense but from faith. Christian saints are not heroes of general moral example but heroes of faith, a qualitatively different realm of human experience. Still, audiences interested in all aspects of ethics will greatly benefit from this superb engagement with recent discussions. [End Page 193]Aleksandar S. SantracWashington Adventist UniversityCopyright © 2017 Society of Christian Ethics... (shrink)

This article explores the idea that, just as the Jewish-Christian dialogue today benefits from the historical consciousness of critical biblical scholarship, so might the dialogue further benefit by a stronger engagement with the corporeal consciousness that permeates both Christian and Jewish traditions in relation to Sacred Scripture. That is, the well-attested 'turn toward history' is also a 'turn toward the body'. Attention to the corporeality of God's word enables a deeper reception of Scripture as 'body' and therefore, (...) I argue, enables Christians to recognise more clearly the word of God embodied in the Torah-centred traditions and living presence of the Jewish people today. The catalyst for my enquiry is Pope Benedict XVI's encouragement of a 'deeper understanding of the sacramentality of God's word' in the mystery of revelation.After examining this theme from the perspective of magisterial, theological and rabbinic sources, I consider its implications for Jewish-Christian relations. (shrink)

Although not a great deal has been said about heaven in the Christian tradition, it is part of the traditional notion of heaven that the blessed are in a condition of perfect happiness. In this life we can be happy to a certain degree, but mixed with earthly happiness is disappointment, frustration, and even sorrow. In heaven, by contrast, there is no sadness, nothing is lacking, happiness is complete. The usual way of explaining this perfect (...) class='Hi'>happiness is in terms of the ‘beatific vision’ – the face to face relationship of knowing and loving God which the blessed enjoy. On earth we experience only finite objects; nothing that we come to know ever completely satisfies our desire to know, and nothing that we love ever completely satisfies our will. But in the beatific vision we shall be in a direct relationship with the infinite God, who in his boundless perfection will completely ‘fill up’ our capacities to know and love. As the completely adequate object of these capacities, God will make us perfectly happy. As Aquinas puts it, ‘…But if God alone were seen, who is the fount and source of all being and of all truth, he would so fill the natural desire for knowledge that nothing else would be desired, and the seer would be completely happy.’. (shrink)

In this narrative, we explore the story of Ananias and Sapphira from the book of Acts in the Christian scriptures. We examine the story in the light of a recent book by Dominic Johnson, God Is Watching You, and other related research. The idea of a punitive God and/or the belief in a punitive God may have significant effects on group functioning. The troubling story of Ananias and Sapphira may be seen as a central cog in the cooperative coming (...) together of what became the Christian Church. In our modern world, a punitive God is an idea we seek to avoid but it may be the one that is essential for a peaceful cooperative world. (shrink)

Inspired by Aristotle, Augustine, and Aquinas, Happiness and the Christian Moral Life argues that the central question of ethics is the meaning and nature of happiness. In the Christian life, happiness is inseparable from goodness, particularly from a way of life that helps us grow together in the goodness of God. This book attempts to show what such a life might look like and how it might change our understanding of Christian ethics.

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

In this paper, Anselm’s argument for the uniqueness of God or, more precisely, something through which everything that exists has its being is reconstructed. A first reading of the argument leads to a preliminary reconstruens with one major weakness, namely the incompleteness of a central case distinction. In the successful attempt to construct a more tenable reconstruens some additional premises which are deeply rooted in an Anselmian metaphysics are identified. Anselm’s argument seems to depend on premises such as that if (...) two things have the same nature, then there is one common thing from which they have this nature and in virtue of which they exist. Furthermore it appears that infinite regresses are excluded by the premise that if everything that exists is through something, then there is something through which it is “most truly”. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Seductiveness of Virtue: Abraham Joshua Heschel and John Paul II on Morality and Personal Fulfillment by John J. FitzgeraldMatthew R. PetrusekThe Seductiveness of Virtue: Abraham Joshua Heschel and John Paul II on Morality and Personal Fulfillment John J. Fitzgerald new york: bloomsbury t&t clark, 2017. 240 pp. $114The Seductiveness of Virtue offers a close study of the twentieth-century Polish-American rabbi Abraham Joshua Heschel, and the first Polish (...) pope, St. John Paul II, on the relationship between being good and being happy. Overall the book advances the conversation on the meaning and continued relevance of virtue in contemporary ethics, though its eagerness to build bridges across competing religious and philosophical traditions opens the argument to both methodological and substantive criticisms. [End Page 206]Fitzgerald divides the book into an introduction and four chapters. Chapter 1, "The Meaning of Our Question," establishes the definitions of concepts that Fitzgerald addresses throughout the rest his argument, including "happiness," "meaning," "freedom," "personal fulfillment," "good and evil," and "doing." Fitzgerald locates each term within the theologies of Heschel and John Paul II and provides his own definitions. Chapter 2, "Heschel and the 'Joys of Mitsvah,'" enters more deeply into Heschel's theology, arguing that, despite some ambiguity about whether morality will always lead to personal fulfillment, Heschel establishes a firm theological and practical connection between following the law (mitzvah) and being happy. Chapter 3, "John Paul II and the Good We Must Do to Have Eternal Life," engages in a similar analysis of John Paul's thought (including his writings before becoming pope) and, despite using different theological categories (chief among them "Christ"), arrives at a similar conclusion: there is a necessary connection between being good and being happy. Chapter 4, which also functions as a conclusion, places the comparison between Heschel and John Paul into a wider comparative context, examining how their respective conclusions on morality and the good relate to insights from other contemporary perspectives, including the Dalai Lama, Peter Singer, and present-day "positive psychology." Fitzgerald concludes by offering five reasons why it is important to continue, in his words, an "interworldview" and "interdisciplinary" dialogue on how virtue relates to happiness.The book is richly sourced—containing 199 footnotes, bibliography, and detailed index—and serves as a good addition to the libraries of those working on John Paul II, Abraham Heschel, virtue theory, or comparative ethics more broadly. Yet its breadth on the comparative front also highlights its vulnerabilities, particularly on the question of what defines the relationship between virtue and happiness from a normative perspective. While providing lucid descriptive accounts of different conceptions of God and the good, for example, Fitzgerald acknowledges near the book's conclusion, "whether one finds [any] author persuasive will depend in large part on one's prior conclusions about the existence and nature of God and the afterlife" (184) and notes that this topic "cannot be resolved or even explored here" (185). However, these "prior conclusions" themselves are ultimately most meaningful for answering the book's central question.This reticence to engage in meta-ethical questions also leads the text to a problematic epistemological and ethical equalizing of each perspective, one that allows Fitzgerald to claim, for example, "while there is much common ground between Heschel, John Paul II, and [Peter] Singer on the relationship between morality and fulfillment, there are also key differences" (174). Here Fitzgerald understates the contrast: one of the "key" differences between Singer's utilitarian materialism and John Paul II's gospel of life is that Singer's position could serve as a paradigmatic representation of the "culture of death" [End Page 207] that John Paul spent his papacy resisting. Thus, while providing an excellent analysis of each thinker individually, the book's argument would benefit from establishing a firmer and more transparent standard for evaluating ethical claims across traditions.Matthew R. PetrusekLoyola Marymount UniversityCopyright © 2018 Society of Christian Ethics... (shrink)

To take a journey, travelers must know where they are, where they are going, and how to get there. Moral theology examines the same three truths. The Christian Moral Life is a handbook for moral theology that uses the theme of a journey to explain its key ethical concepts. First, humans begin with their creation in the image of God. Secondly, the goal of the journey is explained as a loving union with God, to achieve a share in his (...) eternal happiness. Third and finally, the majority of the book examines how to attain this goal. Within the journey motif, the book covers the moral principles essential for attaining true happiness. Based on an examination of the moral methodology in the bible, the book discusses the importance of participating in divine nature through grace in order to attain eternal happiness. It further notes the role of law, virtue, and the gifts of the Holy Spirit in guiding and transforming humans into friends of God, who participate in his happiness. Following this section on moral theology in general, the book analyzes the individual virtues to give more concrete guidance. The entire project builds upon the insights of great Christian thinkers, such as Thomas Aquinas, Thérèse of Lisieux, and John Paul II, to uncover the moral wisdom in scripture and to show people how to be truly happy both in this life and the next. This book will be of great interest to undergraduate students of moral theology, priests and seminarians, parents and teachers seeking to raise and to form happy children, and anyone interested in discovering the meaning of true happiness. (shrink)

A far-reaching reinterpretation of Plato’s Timaeus and its engagement with time, eternity, body, and soul that in its original French edition profoundly influenced Derrida The Tomb of the Artisan God provides a radical rereading of Timaeus, Plato’s metaphysical text on time, eternity, and the relationship between soul and body. First published in French in 1995, the original edition of Serge Margel’s book included an extensive introductory essay by Jacques Derrida, who drew on Margel’s insights in developing his own concepts of (...) time, the promise, the world, and khōra. Now available in English with a new preface by Margel, this engagement with Platonic thought proceeds from two questions that span the history of philosophy: What is time? What is the body? Margel’s twinned interrogation centers around Plato’s concept of the demiurge (divine artisan or craftsman): its body, its anthropomorphic attributes, its productive capacities and regulatory functions in the ordering/organization/assembling of the world. He posits that this paradoxical figure is not merely a cosmological metaphor for the living body but also the site of its destruction, dissolution, and disappearance. Torn between the finite and the infinite, being and becoming, the concept of demiurge also poses metaphysical questions about time, time before time, and the end of time. The ontological status of the demiurge’s body, Margel argues, would become increasingly decisive in the history of philosophy, particularly in Christianity and the dogma of incarnation. (shrink)

BOOK REWEWS 309 down, Adam's "happy sin" sin was a fall "upward" that reversed involution and initiated the agonizing evolution of consciousness. Following Gnosticism, He- gel maintains that the divine "image" according to which humankind was created lies not "in the archaeological past but in the eschatological future" . The third moment of the trinitarian narrative, Spirit, involves the process whereby finite humankind attains "sonship" with the infinite divine. In Hegel's Christology, the "death of God" represents the temporary divine (...) absence needed for the emergence of divine presence in human community understood as Spirit. Far from constituting a once-and-for-all soteriological event, the life and death of Jesus opened the way for others to follow him to mystical union with God. For Hegel, mysticism involves not irrationality, but divine self-manifestation achieved in the highest form of knowing, Reason, available to the most illuminated members of the Christian community. Before closing his discussion of Spirit, O'Regan addresses the issues of 1) whether Hegel's theodicy fails to account adequately for the particularity of human suffering, and 2) whether divine self-realization as spirit in the human community provides an adequate account of the divine transcendence prefigured in the immanent trinity. Finally, O'Regan examines Spinoza and Schelling's influence on the "denarratizing operators" used by Hegel.. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 133 The Foundations of Mysticism. Vol. I of The Pl'.esence of God: A History of Western Christian Mysticism. By BERNARD McGINN. New York: Crossroad, 1991. Pp. xxii and 49. Index and bibliography. $39.00 (cloth). With this work Bernard McGinn delivers the first of a projected four volume History of Western Christian Mysticism. The Foundations in· cludes, as one might expect, the Scriptural tradition, Neoplatonic phi· (...) losophy, early Greek Fathers who influenced the Latins, as well as the early "Founders" Ambrose and Augustine. Judged by the quality of its start, this work promises to become a standard history for years to come. The author displays a stunning acquaintance with the sources of a subject that extends over full twenty centuries. Though " spe-·cialized " in the spirituality of the high and late Middle Ages (he has written substantial studies on Joachim de Fiore and Eckhart), the Chi· cago professor has admirably succeeded in mastering the mass of per· tinent literature of this early period, as the 150 pages of notes and bibliography testify. His ideas are clearly presented, his evaluations of others critical yet generous, his overall judgment impressively balanced. Moreover, he ventures well beyond the usual territory. His work in- -eludes subjects rarely discussed hut often alluded to in the history of.early Christian spirituality: e.g. Gnosticism, which appears here not as a " heresy ", but as a spiritual movement in its own right. The thorough discussion of Philo together with the introductory chapter on 4 ' The Jewish Matrix" (somewhat improperly entitled since it deals only with the Hebrew Bible) display an unusual appreciation of the underestimated influence of Jewish mysticism. One would have been happy to read more about Marius Victorinus, hut is grateful to find him present at all. A historical survey of this scope may easily degenerate into an enumeration of titles and trends, whereby ideas are treated as facts. Professor McGinn has judiciously avoided that. Entire sections of his history are rich monographs about spiritual systems treated for their intrinsic interest rather than as transitory moments of an indifferent history. The sections dealing with Origen, Evagrius, and Ambrose in particular deserve to be read as independent treatises. The long concluding chapter on Augustine also presents a marvelous synthesis, though one primarily written from the point of view of its later impact. In a study of this nature the definition of its formal object presents.a unique problem. Before the late Middle Ages the concept of a purely private spiritual experience remained largely unknown in Christian 134 BOOK REVIEWS spirituality and until the seventeenth century even the substantive " my,;· ticism ", referring to a separate activity, did not exist. H what we now take to be characteristic were to serve as normative concept, almost all spiritual writers of the :first Christian millennium and a good many after that would he excluded. Moreover, the subjective mystical ex· perience remains inaccessible to the historian. McGinn has wisely confined his subject to the spiritual text in its social and ecclesiastical context. But this choice leads to a further, equally difficult question: What constitutes a mystical text? Obviously not all religious or theo· logical writings are mystical. Protestant theologians of the nineteenth century tended to consider a genuine Christian faith incompatible with mysticism, while prominent students of mysticism in this century (such as Underhill, Butler) :remained highly suspicious of speculative theology, including the so-called "mystical" one, But friend and foe of mysticism agree that the mystical, however conceived, cannot simply he identified with the religious. Some scholars, such as von Hiigel, distinguish the mystical from other aspects of religion, but leave its positive content vague and controvertible. Avoiding a precision which the nature of the subject precludes, McGinn nevertheless goes to the heart of the matter in :referring to the mystical as to the dynamic power that drives the religious mind toward the experienced presence of God, without necessarily bringing it to the state of full union. The author's position appears in the felicitous choice of the general title: The Presence God. All religious life aims at entering into the presence of God. But " mystical " religious texts speak of a particular mode of divine presence, not ordinarily... (shrink)

The Judeo-Christian tradition testifies to a God that cries out, demanding that justice "roll down like waters, righteousness like an ever-flowing stream" (Amos 5:24). Christians agree that being advocates for justice is critical to the Christian witness. And yet one need not look widely to see that Christians disagree about what social justice entails. What does justice have to do with healthcare reform, illegal immigration, and same-sex marriage? Should Christians support tax policies that effectively require wealthy individuals to (...) fund programs that benefit the poor? Does justice require that we acknowledge and address the inequalities borne out of histories of gender and ethnic exclusivity? Is the Christian vision distinct from non-Christian visions of social justice? Christians disagree over the proper answer to these questions. In short, Christians agree that justice is important but disagree about what a commitment to justice means. Christian Faith and Social Justice makes sense of the disagreements among Christians over the meaning of justice by bringing together five highly regarded Christian philosophers to introduce and defend rival perspectives on social justice in the Christian tradition. While it aspires to offer a lucid introduction to these theories, the purpose of this book is more than informative. It is purposefully dialogical and is structured so that contributors are able to model for the reader reasoned exchange among philosophers who disagree about the meaning of social justice. The hope is that the reader is left with a better understanding of range of perspectives in the Christian tradition about social justice. (shrink)

The paper, which retains a hypothetical character, argues that Spinoza's propositions referring to God (or involving the use of the name ‘God’, essentially in the Ethics), can be read in a fruitful manner apart from any pre-established hypothesis concerning his own ‘theological preferences’, as definite descriptions of three ‘ideas of God’ which have the same logical status: one (akin to Jewish Monotheism) which identifies the idea of God with the idea of the Law, one (akin to a heretic ‘Socinian’ version (...) of Christianity) which identifies it with the idea of Human Love, and one (akin to a form of Cosmotheism, rather than ‘Pantheism’) which identifies it with Nature. Evidence of this analytic tripartition can be found in the letter of the texts themselves. If accepted (at least as a thought experiment), it would carry three interesting consequences: 1) to renew our understanding of the theory of the ‘three kinds of knowledge’, which have obvious affinities with the three possible ways of understanding the idea of God; 2) to emphasize the critical move associated by Spinoza with each of the three ideas of God (passing from an anthropomorphic legislator to an impersonal command, passing from an imaginary community of similarities to a practical community of singularities, and passing from a teleological and harmonious idea of nature to a causal, even conflictual, idea of its infinite power); 3) to locate the essential ethical and political questions associated with religion on the ‘vectors’ which lead from one idea to another, and represent themselves practical conatus: obedience, utility, order. It is also assumed that such a reading enhances the relevance of Spinoza's philosophy with respect to contemporary debates about religion and secularism. (shrink)

This concise, well-structured survey examines the problem of evil in the context of the philosophy of religion. One of the core topics in that field, the problem of evil is an enduring challenge that Western philosophers have pondered for almost two thousand years. The main problem of evil consists in reconciling belief in a just and loving God with the evil and suffering in the world. Michael Peterson frames this issue by working through questions such as the following: What is (...) the relation of rational belief to religious faith? What different conceptual moves are possible on either side of the issue? What responses have important thinkers advanced and which seem most promising? Is it possible to maintain religious commitment in light of evil? Peterson relies on the helpful distinction between moral and natural evil to clarify our understanding of the different aspects of the problem as well as avenues for response.The overall format of the text rests on classifying various types of argument from evil: the logical, the probabilistic, the evidential, and the existential arguments. Each type of argument has its own strategy which both theists and nontheists must recognize and develop. Giving both theistic and nontheistic perspectives fair representation, the text works through the issues of whether evil shows theistic belief to be inconsistent, improbable, discredited by the evidence, or threatened by personal crisis.Peterson explains how defensive strategies are particularly geared for responding to the logical and probabilistic arguments from evil while theodicy is an appropriate response to the evidential argument. Theodicy has traditionally been understood as the attempt to justify belief in a God who is all-powerful and all-good in light of evil. The text discusses the theodicies of Augustine, Leibniz, Hick, and Whitehead as enlightening examples of theodicy. This discussion allows Peterson to identify and evaluate a rather dominant theme in most theodicies: that evil can be justified by designating a greater good. In the end, Peterson even explores how certain types of theodicy, based on specifically Christian renditions of theism, might provide a basis for addressing the existential problem of evil. The reader of this book gains not only an intellectual grasp of the debate over God and evil in professional philosophy but also the personal benefit of thinking through one of the most important issues in human life. (shrink)

This essay examines the problem of evil, and then develops a free will theodicy. Then the paper considers some themes in distinctively Christian theodicy building, in more detail.

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS Search for the Absent God: Tradition and Modernity in Religious Understanding. By WILLIAM J. HILL, O.P., MARY CATHERINE HILKERT, 0.P., ed. New York: Crossroad, 1992. Pp. 224. $27.50 (cloth). In presenting the fruit of a lifetime of exploration on the part of this theological craftsman of the highest merit, the editor has performed an unparalleled service. For William Hill is a clear and courageous thinker, and one (...) whose selfless editorial duties have perhaps curtailed his own writing over the years. Yet these essays make up for that, and afford younger students of theology a starting point for their reflections beyond the fads of the moment, yet seizing the challenge of contemporary proposals. His grasp of classical and of modern idiom, together with his range of reading, make him a theologians' theologian par excellence. For with his classical mentors he is concerned with conceptual coherence, yet equally anxious to respond to the anthropological perspectives of contemporary theological inquiry. Briefly characterized, the work brings Thomas Aquinas into dialogue with Heidegger and with Whitehead, using each of the latter figures to challenge an earlier " Thomistic" synthesis of the thought of Thomas Aquinas, and highlight dimensions of his theology hitherto left quite implicit. This creative recovery of medieval thought begins with an established interpretation of Aquinas's metaphysical transformation of the neoplatonized Aristotle of Avicenna: his insistence that esse {existing ) precedes essence (or possibility). The identification of God as that One in whom essence and existing are identical sets the stage for Hill's explicitly theological treatment of free persons, by analogy with the " persons " of the divine triunity: " each divine person ' posits ' the others as over and against himself and thereby posits himself in his hypostatic identity. What all this bases itself upon is the understanding that the Christian revelation of freedom as radically constituting personhood enables it to function as a category which surmounts the Greek dichotomizing of reality into contingency and necessity " (117). If the identification of existing with essence in God confronts Heidegger's critique of " ontology," Hill's use of classical trinitarian thought to suggest a fruitful distinction in human creatures between nature and freedom allows him at once to correct the caricature of Aquinas proffered by process theologians as "classical theism," and 521 522 BOOK REVIEWS also to profit by their criticisms of the use of hellenistic categories like impassibility in divinity. "The key... lies in the mystery of freedom. Abstractly, freedom is a property of nature, but its exercise is the pre· rogative of person as the existential instantiation of nature. The person viewed ontologically (as subject of the act of existing) thus determines itself though its nature to be the sort of person it is, viewed psychologi· cally and historically" (127). Finite natures need to negotiate all sorts of causal influences in effecting such a determination of themselves; not so " an infinite nature whose freedom is transcendent." Yet when that One freely determines itself to be source and goal of all, and espe· cially of rational creatures (cf. Summa Theologiae 1.2 Prol.), then " that choice is one of willing to be constituted, personally and so relationally, and in this sense to be determined, by other free beings" (127). So the God who (in Aquinas' idiom) is not "really related" to the world in the sense of enduring (in Hill's words) "passive influx," nonetheless freely relates to intentional creatures in such a way as to be responsive to their freedom. So his response to Moltmann's conten· tion that God suffers " in his very deity " is an explicitly Christological one: "first, that God remains immutable and impassible in his own intrinsic godhead, so that his genuine love for creatures cannot entail suffering within divinity as such; but second, that God does choose to enter personally and relationally into the heart of humankind's suffering in his transcendentally free and loving response to it. God truly suffers... in and through his humanity which is one with the humanity of all men and women" (162). If this resolution sounds "classical," it is, both in its concern for conceptual coherence and for bringing out the radical implications of doctrines like that of Chalcedon... (shrink)

This paper refers to the 700th anniversary of the death of Dante Alighieri in commemoration of which Pope Francis released a special apostolic letter highlighting the genius and significance of the Italian poet. We should praise his genius, the Pope writes, because it is he who was able to express, much better than most of the others, the depth of the mystery of God and His love. The Commedia is the fruit of deep religious inspiration. This is why Francis repeats (...) after Benedict XV – „Dante is our own!” Why is it so? Because there breathes in Alighieri the devotion that we too feel and his faith resonates with ours. Dante’s work continues to be a meaningful and valid exemplar for Christ’s followers. However, in today’s pop culture Dante is mainly seen through his depiction of hell – the artistically described eternal punishment. The truth about hell which Dante made the subject of his narrative does not find acceptance even between Christians. Many people are really outraged and scandalized because hell is for them the symbol of sadism and distorted image of God – a vengeful tyrant who condemns human souls to eternal perdition. But hell is present in the biblical message. The early Church Fathers spoke of hell in their sermons, wrote about it in treatises, disputed the dwelling place of the condemned souls, the position of Satan and other demons, and the imminence of God’s judgement. In this way in the Catholic dogmatic theology consolidated the truth of the reality of hell and eternal punishment. This was also in accord with the views of the prominent medieval theologians. Therefore, why the ancient and well-known truth about hell is rejected today as outrageous and Dante’s vision does not gain recognition? The heart of the matter is the understanding of the idea of justice and atonement. In their denial expressed through the notion of the empty hell and rejection of eternal punishment for angels’ and people’s sins, we have to do with misunderstanding of the significance of human intellect and will. The refusal to accept responsibility for our free choices entails the uninhibited rejection of seriousness of our earthly life. If we believe that our fate, and what is more, out eternal fate – the salvation or damnation – depends on what we were able to do in our lifetime, Dante’s poetic vision strongly illustrates this standpoint. The power of free will is deeply and inalienably present in The Comedy’s stanzas. In the Dante’s poem the essence of hell lies in the ultimate rejection of the goal that man longs to achieve from his very nature – the happiness which is the union with the infinite Good – God, the Creator and the Redeemer of the world. How is it possible? It happens due to the existence of free will which is innate to all people and no one can deprive them of it or minimise it. This rejection of the sublime happiness is the result of human free decision – the condemned did not say to God: “Thy will be done!” but “my will be done!”. The existence of hell becomes the guarantee of human dignity, the evidence that a perfectly Good and Omnipotent God treats the man whom He had created seriously and preserves him for the eternity in the same state in which he wanted to remain in his earthly life. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Christian Art of Dying: Learning from Jesus by Allen VerheyMandy Rodgers-GatesThe Christian Art of Dying: Learning from Jesus By Allen Verhey GRAND RAPIDS: WILLIAM B. EERDMANS, 2011. 423 PP. $30.00When Allen Verhey, my former adviser, learned that I would be writing this review, he warned me (with characteristic modesty) that I ought to be careful to critique something about his book, or people might become (...) suspicious. It seems fitting now that this piece is being published after his death, which gives me permission to praise the book without reserve.Over the last few decades, the topic of death and dying has garnered renewed interest among Christian ethicists, and Verhey has been at the center of these conversations. Such conversations have brought into focus the reality that death is not merely the cessation of a life lived well (the “true” subject of ethics) but also that “dying well” is a legitimate subject within ethics. Dying offers unique opportunities for practicing virtues and for loving God, self, and neighbor, and care for the dying and grieving represents an important test of the faithfulness of Christian communities.After beginning with his own assessment of death in the modern West—acknowledging the benefits and triumphs of medicine, along with the pitfalls of medicalized death and the failure of the Church to resist medicalization—Verhey moves to the heart of his book: a retrieval of the Ars Moriendi tradition. Verhey engages a fifteenth-century abridged manual on the art of dying that appeared within the wider genre, one accompanied by wood-block prints (whose images appear alongside Verhey’s text). Placing the little book within its historical context, Verhey describes the view of death presented in it, a “commendacion” of death. He then moves on to the Ars Moriendi’s presentation of temptations faced by the dying person (“Moriens”), the virtues required, and questions, instructions, and prayers for the dying. Along the way, Verhey offers some of his own analysis; but he reserves the bulk of his critique and reformulations for the third section of his book, “Toward a contemporary Ars Moriendi.”Verhey’s articulation of a contemporary Ars Moriendi begins with a “commendacion” of life, in contrast to the medieval commendation of death. He demonstrates how the lens of Jesus’s resurrection serves to illuminate a proper Christian view of death: life is a good—though not the ultimate good—and death and suffering per se ought not to be considered good. At the same time, we need not fear death. Death and suffering are not the greatest evils, and [End Page 191] sometimes they must be risked or accepted “for the sake of God’s cause in the world” (215). Taking its cue from the Ars Moriendi tradition of remembering Jesus, the next chapter traces some of the details of the Passion narratives, including the seven final words of Jesus, and comments on these as they pertain to a modern context of dying. This remembering is then brought to bear on a contemporary retelling of the virtues necessary for dying well—again, relying upon and yet transforming the earlier tradition in nuanced ways. Verhey’s final section, on Christian communities’ care for the dying, includes sustained reflection on the practices of those communities and the resources they offer, focusing particularly on prayer. It offers critiques and additions—for example, recognizing the value of increased silence at funerals, “instead of rushing to fill the silence of death with our words” (348).Verhey’s engagement with the Ars Moriendi literature offers a creative and exemplary use of tradition for a contemporary concern. Our age—one that often refuses to face death—is brought into conversation with another era, when people took their dying seriously. At the same time, Verhey is free with his critique of the tradition and the need to reshape it, primarily on theological grounds. The strength of this book, like all his work, lies in its attention to scripture and its theological nuance and depth. At the same time, he knew and understood people, and that knowledge and pastoral concern are evident throughout. Ultimately, he accomplishes what he expresses in the introduction: “I hope... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The “Figure” of God and the Limits to Liberalism: A Rereading of Locke’s Essay and Two TreatisesVivienne BrownI. A current interpretative issue in reading John Locke’s texts is the relationship between Locke’s theology and political philosophy. 1 Reacting against the secular interpretations of C. B. Macpherson and Leo Strauss, John Dunn argued that Locke’s theology was axiomatic for the political philosophy of the Two Treatises of Government in that (...) Locke’s liberalism was based on a religious individualism. 2 Dunn thus decisively reoriented Lockean scholarship away from seeing Locke as an apologist for a new capitalist economic order, and James Tully and Richard Ashcraft have since substantiated the view that theological presuppositions were foundational for Locke’s political writings but they emphasized the radical nature of Locke’s political position. 3 This view has in turn been challenged by more recent contextual studies of the development of Locke’s thought. John Marshall has argued that the political argument in the Two Treatises of Government is not dependent on religious individualism in [End Page 83] that Locke’s natural theology was itself driven by epistemological investigations, and that it was this epistemological impetus which inclined the Christian Locke towards the Socinian tendencies of his later years. 4 Ian Harris accepts that theological explanation was central to Locke’s writings in ethics and government, but he also emphasizes the reverse process of determination where Locke’s theology, particularly with respect to revealed religion, is in turn reliant upon Locke’s broader thinking. Harris argues therefore that there is a continuity of substantive thought such that theological concerns mesh into, rather than exclusively determine, the broader pattern of Locke’s political and moral ideas. 5 Recent studies thus share a considerable common ground in their recognition of the importance of the relationship between Locke’s theology and political philosophy, but disagreements remain over the precise nature of this relationship and its implications for Locke’s writings.This paper will address the question of the relationship between Locke’s theology and political philosophy by examining the figurative expressions by means of which God is represented in Locke’s Essay Concerning Human Understanding and Two Treatises of Government. 6 The paper will argue that the ways in which this metaphorical “figure” of God is inscribed in Locke’s epistemology and political philosophy 7 suggest a different approach to reading the intricate relationship between God and mankind, and that this casts doubt on the widely-received understanding of Locke’s contribution to classic liberal arguments within political philosophy. It will be argued further that the different formulations of the figure of God in these two texts result in problematizing the historiographic notions of theoretical determination and historicized authorial intent which have so far largely informed the interpretative debate in this area. 8 [End Page 84]II. In the Essay it is argued that mankind has no knowledge of real essences, even of such a simple thing as a pebble or a fly, and certainly cannot know the real essence of God which is immeasurably more inaccessible. 9 Descriptions of God in the Essay are not, therefore, literal statements of God’s characteristics but necessarily inadequate attempts to conceptualize him from within the linguistic and mental constraints of the finite world of men. Two possibilities are available to mankind in its attempt to mediate this fundamental state of ignorance. One is to try to form a complex idea made up of the simple ideas received from sensation or reflection upon itself and then to magnify this to an infinite degree:And even the most advanced Notion we have of God, is but attributing the same simple Ideas which we have got from Reflection on what we find in our selves, and which we conceive to have more Perfection in them, than would be in their absence, attributing, I say, those simple Ideas to him in an unlimited degree. 10God’s postulated qualities are thus valued human qualities writ infinitely large, even though elsewhere the anthropomorphism of the “ignorant and uninstructed” is rejected: 11[H]aving from what we experiment in our selves, got the Ideas of Existence and Duration; of... (shrink)

Whitehead had a place for God in his comprehensive cosmological vision, and his theism has long attracted interest from some Christian theologians. But Whitehead's ideas have much wider use. Some Buddhists have found help in articulating their nontheistic vision and relating it to the current world of thought and action. In this book religious writers in seven different traditions articulate how they can benefit from Whitehead's work. So this volume demonstrates that various features of his thought can contribute (...) to many communities. According to his followers, Whitehead shows that the deepest convictions and commitments of the major religious communities can be complementary rather than in conflict. Readers of this book will see how that plays out in some detail. A Whiteheadian Hindu can recognize the truth in a Whiteheadian Judaism, and both can appreciate the insights of Chinese Whiteheadians committed to their classical thinking. Perhaps a new day in interreligious understanding has come. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 22 (2002) 63-76 [Access article in PDF] Formal Practice: Buddhist or Christian Robert Aitken Diamond Sangha In this paper, I write from a Mahayana perspective and take up seven Buddhist practices and the views that bring them into being, together with Christian practices that may be analogous, in turn with their inspiration. The Buddhist practices sometimes tend to blend and take on another's attributes (...) and functions. I name them according to their usage in Western Buddhism.The Nembutsu (Ch. Nien-fo, "Recalling Buddha") is the pronouncement of veneration to Amida Butsu (Ch. A-mi-to-fo, Skt. Amitabha Buddha), an appeal to his salvific power, and sometimes an endeavor to unify with him.The ekomon (Ch. hui-hsiang-men, Skt. parinamana) is a verse that transfers merit back to Buddhas, bodhisattvas, and past teachers for their further empowerment to bring beings to the way of the Buddha.Zazen (Ch. tsao-ch'an, Skt. dhyana) is focused meditation intended to enable the student to personalize the realization and way of the Buddha.The vow or expression of aspiration (J. gan, Ch. yuan,Skt. pranidhana) pronounces a determination to make realization possible for the self and others.Sange, or zange (Ch. chang-hui, Skt. kshamayati), is the confession of personal responsibility for bad karma in the past and repentance for it.Mudra(J. in, Ch. yin) and dharani(J. darani or ju, Ch. chou) are ritualized presentations of realizations and their dharma. They can be gestures, hand positions, or postures; dharaniare esoteric formulas or texts.Sutras and sutra services, from the Sanskrit (J. kyo,Ch. ching), traditional Buddhist chants and texts. The Nembutsu The Nembutsu invokes Amida, the Buddha of Infinite Light and Life and the Lord of the Pure Land, a powerful savior by dint of vows he took while still in his Bodhisattva Dharmakara incarnation. He is venerated across Asia—in Japan, Korea, Vietnam, and the Chinese diaspora. The Nembutsu formula, "Namu amida butsu," or the equivalent in the other languages ("Veneration to 'Amida Butsu'"), is repeated devotionally, bringing promise of a joyous afterlife, and for some, intimacy with Amida, [End Page 63] the spiritual oyasama, or parent, an effect not unlike that of Christian mysticism. 1 The Myokonin (Pure and Happy People), the Pure Land movement of Japanese who take it upon themselves to practice the Nembutsu moment-to-moment, set forth their experience in artless poetry that is poignant and metaphysically clear: I thought it was all due to my self-power, That [the Nembutsu] was uttered; But it was not so, it all came from the power of Oya. What I was imagining to be the other power Was no other than the self-power itself. Wishing to shun the evil path And ever hoping for the Pure land— The very thought was no other than the self-power. I have been designing all the time, Saying, "Is this the way, or that?" But there was no designing after all, All was given fully, and freely How grateful I am! Namu amida butsu! 2Interior repetition of the Nembutsu hundreds of times a day brings the fulfilling gift of spiritual intimacy with the oya, and the Christian analoy is clearly the Jesus Prayer, "Lord Jesus Christ, Son of God, have mercy on me, a sinner," or its shortened version, "Lord have mercy" ("Kyrie eleison"). 3 Yet there is more than a shade of difference between devotion to a savior empowered by his original vows for his all-embracing compassion, and devotion to the one who inherits the power of an omnipotent God. In the words of Saint Teresa of Avila, "God is almighty. His power has equaled His will; and so He can do everything that pleases him. The less I understand this, the more I believe it and the greater the devotion it arouses in me. Blessed is He forever! Amen." 4 The EkomonIn contrast to the Nembutsu, the ekomon is not an appeal for redemption but a return of the "auspicious power" (J. fukutoku, Ch. fu-tu, Skt. punya) of the sutra or sutras just recited to... (shrink)

The proper theological response to the problem of reconciling human suffering with the Christian belief in a God of infinite wisdom, power, and goodness is not to try to solve the unsolvable, but to preserve the mystery of God. The concept ‘mystery’ as attributed to God signifies intelligibility — inexhaustible intelligibility — not contradiction. Mystery suggests the range and limits of a human being's knowledge of God. We cannot know why God permits suffering in this particular instance or (...) the character of God's response to someone in the throes of suffering. We can know in a general way the necessary conditions of the possibility for the realization of God's purpose because we know the purpose of God's activity through revelation. This paper argues that if God created the universe so that creatures could share in the fullness of God's life, God could not have achieved God's purpose without any human suffering. This argument upholds the inexhaustible intelligibility of God's activity and thus preserves the mystery of God, for if God could have achieved God's purpose without any suffering, yet willed the suffering of creatures, then the eternal plan of providence and the actual unfolding of salvation history would be arbitrary and irrational. (shrink)

Does the idea of human enhancement presuppose a goal or an ideal to direct technological modifications? In the absence of such an agreed ideal in today’s culture, can Christian theology help clarify the goal or the meaning of “perfection” when applied to human beings? A theological perspective rooted in scripture and in the writings of theologians such as Irenaeus, Athanasius, and Gregory of Nyssa suggests that theology instead of offering its own definition of the human ideal, theology rejects the (...) possibility of any defined human goal. An analysis of the biblical word teleios (“mature” or “perfect”), along with Gregory’s view of infinite ascent, leads to the conclusion that the human goal is found in relationship to the triune God and not in any anthropologically-definable status. (shrink)

The problem of evil has generated varying attempts at theodicy. To show that suffering is defeated for a sufferer, a theodicy argues that there is an outweighing benefit which could not have been gotten without the suffering. Typically, this condition has the tacit presupposition given that this is a post-Fall world. Consequently, there is a sense in which human suffering would not be shown to be defeated even if there were a successful theodicy because a theodicy typically implies that (...) the benefit in question could have been gotten without the suffering if there had not been a Fall. There is a part of the problem of evil that would remain, then, even if there were a successful theodicy. This is the problem of mourning: even defeated suffering in the post-Fall world merits mourning. How is this warranted mourning compatible with the existence of an omniscient, omnipotent, perfectly good God? The traditional response to this problem is the felix culpa view, which maintains that the original sin was fortunate because there is an outweighing benefit to sufferers that could not be gotten in a world without suffering. The felix culpa view presupposes an object of evaluation, namely, the true self of a human being, and a standard of evaluation for human lives. This book explores these and a variety of other topics in philosophical theology in order to explain and evaluate the role of suffering in human lives. (shrink)

The importance of Georg Cantor’s religious convictions is often neglected in discussions of his mathematics and metaphysics. Herein I argue, pace Jan ́e (1995), that due to the importance of Christianity to Cantor, he would have never thought of absolutely infinite collections/inconsistent multiplicities,as being merely potential, or as being purely mathematical entities. I begin by considering and rejecting two arguments due to Ignacio Jan ́e based on letters to Hilbert and the generating principles for ordinals, respectively, showing that my (...) reading of Cantor is consistent with that evidence. I then argue that evidence from Cantor’s later writings shows that he was still very religious later in his career, and thus would not have given up on the reality of the absolute, as that would imply an imperfection on the part of God. (shrink)

Central to the teachings of Christianity is a puzzle: on the one hand, sin seems something that humans do not do freely and so cannot be not responsible for, since it is unavoidable; on the other hand, sin seems something that we must be responsible for and so do freely, since we are enjoined to repent of it, and since it makes us liable to divine condemnation and forgiveness. After laying out the puzzle in more depth, this Element considers three (...) possible responses—libertarian, soft determinist, and free-will skeptic—and weighs the costs and benefits of each. (shrink)

As Christians, all twelfth-century Latin thinkers identified true happiness with the happiness God promises in the afterlife. This happiness was believed to be entirely spiritual, consisting in the endless vision of God. Nevertheless, along with this beatitudo in patria we also find in some twelfth-century authors the idea of a beatitudo in via as the philosophical life. This life can be characterized either as completely contemplative and solitary, or as one that remains partially attached to material circumstances (...) and action in society. Within this broad framework, this paper emphasizes three points:a. the ascetic and almost purely contemplative character of the ideal of the philosophical life as we find it in twelfth-century authors like Peter Abelard and John of Salisbury;b. the role played by philosophers in some twelfth-century triads of human types;c. the fact that, in spite of the monastic touch which often color them, many theses held by twelfth-century defenders of the philosophical... (shrink)

The beatific vision is central to St. Thomas Aquinas’ doctrine of the soul’s enlightenment. In its vision of the essence of God, the soul/intellect achieves its telos, its highest goal. But the resurrection of the body is a central dogma of the Christian faith, so the main question of this essay concerns the manner in which the resurrected body of the blessed benefits from the soul’s apprehension of the beatific vision. For St. Thomas, the physical eyes do not see (...) the beatific vision, since they can only see magnitude and proportion, and God is beyond both. The soul is the body’s substantial form, and a person is not fully a person without the union of soul and body. As the body’s substantial form, the soul/intellect has the beatific vision as its substantial form. The result of the enlightened intellect with the resurrected body will be that the physical eyes will be able to see more readily the glory of God in creation and in redeemed humanity, and more supremely in the incarnate Christ himself. (shrink)

How should we interpret the declaration in I John 4:8 and 16 that God not only loves, but is love? Many philosophically trained Christians will no doubt interpret this, as I do, to mean that love is part of God's very essence; that loving kindness is an essential, not merely an accidental, property of God. Of course the author of I John was not a philosopher and did not, fortunately, employ philosophical jargon in his writings; nor was he likely even (...) familiar with the philosophical distinction between essential and accidental properties. He nonetheless seems clearly to employ "God" as a proper name (as opposed to a title), the name of a distinct person whom we ought to adore and worship, and he says concerning this person that he is love. The point, then, hardly seems to be that the person who is God just happens to love us, as if it were a happy accident that he does; the point seems to be that it is his very nature to love us. In a broadly logical (or metaphysical) sense, it couldn't have been otherwise.1 That this is, at the very least, a natural interpretation seems indisputable. Commenting upon I John 4:8, the conservative New Testament scholar, Leon Morris, thus writes: God is love. This means more than `God is loving'. It means that God's essential nature is love. He loves, so to speak, not because he finds objects worthy of His love, but because it is His nature to love. His love for us depends not on what we are, but on what He is. He loves us because He is that kind of God. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Transitions to a Modern Cosmology: Meister Eckhart and Nicholas of Cusa on the Intensive InfiniteElizabeth BrientThe Epochal Transition from the late medieval to the early modern world has long been thought in terms of the gradual “infinitization” of the cosmos. Traditionally this process has been studied by focusing on the pre-history and the aftermath of the Copernican revolution, that is, by describing the transition from the finite, hierarchically ordered (...) medieval cosmos to the infinite and homogeneous universe of the new astronomy. I would like to situate this paper within the context of a more general reading of the process of the infinitization of the medieval cosmos. That is, I want to argue that this process of “infinitization” must be understood intensively as well as extensively. Nature, in the modern age, is thought of not only as infinitely extended in space, but also as exhibiting an infinite richness in all of its parts. Each particular, each individual being is grasped as utterly unique, as infinitely rich and consequently as conceptually inexponable. Thus the infinitization of the real leads to an infinitization of the knowable—the radical shift in ontology grounds a corresponding shift in epistemology, so that the progress of human knowledge is understood as an unending project infinitely extended over time. In order to underscore both aspects of the infinitization of the medieval cosmos (intensive as well as extensive) I will focus on the way in which a single metaphor (that of the infinite sphere) is unfolded historically in the thought of Meister Eckhart and Nicholas of Cusa.1 This paper may thus be viewed as a case study of [End Page 575] the way in which the modern notion of “intensive infinity” may be traced back to late medieval speculation on the nature of God’s omnipresence in the world.1. EARLY SOURCES OF THE INFINITE SPHERE METAPHORThe metaphor of the infinite sphere makes its first appearance in the pseudo-Hermetic Liber XXIV philosophorum, a small book in the literary form of an “opus propositionum” which, in twenty-four propositions, describes the ineffable essence of God in the mystical language of Neoplatonic theology. It is in the second proposition of this book that we find for the first time the formulation, “God is an infinite sphere, whose center is everywhere, whose circumference is nowhere.”2 This formulation represents a significant development in the history of the Neoplatonic conception of intensive unity, and in the Christian understanding of divine infinity. The Neoplatonic One is here identified with God as infinite being. As a result the relationship between the One and the many, between God and the world, comes to be viewed in a new light, through the lens of “infinite unity.” The metaphor of the infinite sphere is a paradoxical formulation which pictures the coincidence of divine immanence with divine transcendence. That is, it expresses a double infinity: both intensive and extensive. God’s center is located at every point, as it were, indicating the plenitude and infinite richness of God’s being, while there is no limit, no boundary to the extent of God’s all-encompassing reach. The infinite sphere figures the divine nature as an intensive plenitude without end or bounds. The third and next proposition in this same work goes on to strengthen this sense of divine intensity, by asserting that God in his entirety is present in every part (Deus est totus in quolibet sui). The divine nature is not spread out compositionally, as it were, but is wholly present throughout. Proposition 18 describes God as a sphere which has just as many circumferences as points (Deus est sphaera cuius tot sunt circumferentiae, quot sunt puncta), once again, an exploding image which can only make sense in the case of an infinite sphere. These three propositions taken together provide us with a springboard for considering the nature of infinite unity. The exploding paradox of the infinite sphere [End Page 576] provides a rubric for thinking the coincidence of transcendence and immanence, a way of conceptualizing infinite unity, which cannot be “grasped” with finite concepts or through discursive reasoning. The metaphor of the infinite sphere finds its meaning precisely in the way... (shrink)

In an urbane and persuasive tract for our time, the distinguished Catholic theologian combines a comprehensive metaphysics with a sensitivity to contemporary existentialist thought. Father Murray traces the “problem of God” from its origins in the Old Testament, through its development in the Christian Fathers and the definitive statement by Aquinas, to its denial by modern materialism. Students and nonspecialist intellectuals may both benefit by the book, which illuminates the problem of development of doctrine that is now, even (...) more than in the days of Newman, a fundamental issue between Roman Catholic and Protestant, theologians and nonspecialst intellectuals alike will find the subject of vital interest. As a challenge to the ecumenical dialogue, the question is raised whether, in the course of its development through different phases, the problem of God has come back to its original position. Father Murray is Ordinary professor of theology at Woodstock College, Woodstock, Maryland. St. Thomas More Lectures, 1. "A gem of a book—lucid, illuminating, brilliantly written. A fine contribution to the current Catholic theological renaissance."—Paul Weiss. (shrink)

What is it for there to be a God, and what reason is there for supposing him to conform to the claims of Christian doctrine? In this pivotal volume of his tetralogy, Richard Swinburne builds a rigorous metaphysical system for describing the world, and applies this to assessing the worth of the Christian tenets of the Trinity and the Incarnation. Part I is dedicated to analyzing the categories needed to address accounts of the divine nature--substance, cause, time, and (...) necessity. Part II begins by setting out, in terms of these categories, the fundamental doctrine of Western religions--that there is a God. After pointing out some of the different ways in which this doctrine can be developed, Swinburne spells out the simplest possible account of divine nature. He then goes on to clarify the implications of this account for the specifically Christian doctrines of the Trinity (that God is "three persons in one substance") and of the Incarnation (that God became incarnate in Jesus Christ). Swinburne finds that there are good reasons to believe the Christian additions to the core Western idea of God. The Christian God builds upon Swinburne's acclaimed previous work to form a self-contained text which will no doubt become a classic in the philosophy of religion. (shrink)

Is God happy? In the tradition of classical theism, the answer has long been “Yes.” And, just as God is not merely powerful, but all-powerful, so too God is not merely happy, but all-happy or infinitely happy. Far from being empty praise, God’s happiness does important work, in particular, in explaining both human existence and human destiny. This essay is an attempt to give divine happiness the serious philosophical treatment it deserves. It turns out that, as with many (...) divine traits, ascribing all-happiness to God is not without potential problems. I raise and attempt to address what I take to be the most serious problem, which I call “The Subjective Problem of Evil.”. (shrink)

In the analytic Philosophy of Religion, much ink has been spilt on the existence of some sort of supernatural reality. Such work is usually done by theists; those that find classical theism to be probably true. It is my contention that theism is unjustly privileged by many in the field, even when supernaturalism has been – competently or incompetently – argued for. As such, I present a series of challenges for the theist, finding them to be insuperable at present. The (...) first such challenge concerns the challenge of polytheism. Polytheism is often very casually overlooked on the basis that monotheism is ‘simpler’. Recognising that such simplicity is not necessarily truth-conducive, I argue that polytheism, as a catch-all hypothesis, ought to be preferred. The second challenge proceeds from an assumption not only of supernaturalism, but also of monotheism. There are infinitely many monotheistic alternatives to theism, which can be conceived by simply tweaking the typical attributes of God. Again, simplicity is typically appealed to, and again found to be unhelpful. Furthermore, there are the deistic alternatives to consider also, many of which are seemingly more probable than theism. Finally, I consider the pantheistic god models, deciding that pantheisms are generally more robust and make fewer ad hoc assumptions about the world. As an aside, I concisely discuss the difficulties in moving from theism to Christian theism, which includes an argument against miracles, and a brief explanation of the increasing trend of questioning Jesus’ historical existence. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Kings and Gods as Ecological Agents:From Reciprocity to Unilateralism in the Management of Natural ResourcesSimon Simonse (bio)1. IntroductionThe questions this article addresses are as follows: do non-Western societies have a qualitatively better, more balanced relationship with nature than modern Western societies? Can the difference between the two be described in terms of an opposition between a reciprocal and an exploitative relationship? What difference does the Judeo-Christian tradition make (...) in shaping the modern relationship with nature?To answer these questions I will give brief descriptions of the way in which three cultural traditions have structured the relationship between man and nature: societies that are ruled by sacred kings, societies where power over nature is attributed to divinities, and the Old Testament tradition. As cases of sacred kinship, I present ethnographic material taken from my anthropological fieldwork among the Lulubo, Lokoya, and Lotuho peoples from the East Bank of the Nile in Southern Sudan. I will use the term "Eastern Nilotic" as shorthand for this complex of peoples. For the societies where divinities play the central role, I take the Western Nilotic Dinka, Nuer, and Atuot living in the flood plains of the Nile north of the kingship societies.In comparing these three traditions my point of departure is René Girard's analysis of culture as a mechanism to resolve conflict by directing the aggression of the members of society onto a victim and so achieving a new consensus. We shall see that in the kingship societies what we call natural phenomena play an integral part in culturally staging the scapegoat mechanism. They are the stage of human rivalries and their resolution. Among the polytheistic Western Nilotes they are the instrument through which the gods make their power felt and demand attention from humans. In the Old Testament, natural phenomena remain the domain of God's power. Humans should not try to interfere. Their mission is to combat human evil as defined in Mosaic law. [End Page 31]2. Kings as Ecological AgentsThe survival of the communities of the Lokoya and Lulubo on the East Bank of the Nile who traditionally live in well-fortified village-polities, counting in the precolonial period between 1500 and 2500 inhabitants, is dependent on forces that are unpredictable (Simonse 1992). As agriculturists they are dependent on regular rains. However, the rains in their area are erratic and localized. As a result there is always a risk that the harvest may fail. The soil is of varying quality, giving varying yields in different places. The birth rate is another major concern. It determines the security of the community in its relationship to neighboring, frequently hostile, communities. There is the concern for epidemics, crop-eating insects and birds, and root-eating worms. Violent winds may destroy the crop, and lions and leopards may kill humans and cattle. A concern of a different order is the extent of the effectiveness of weapons, spears, and bows and arrows, in assuring security.When adversity affects the community, the first question asked by those affected is that regarding its cause. Frequently the cause is a breach of the social rules: an act of violence and a failure to perform or properly perform a ritual of purification necessitated by the violence. It may also be unconscious resentment on the part of a person or group that feels excluded from benefits enjoyed by others. It may be the cry of a neglected relative. It may be incest. It may be an attack by outsiders.Among the Lulubo and Lokoya, responsibility for the various aspects of the natural environment that can be critical for community survival is allocated to the different clans. In the case of a crisis (drought, infertility) the clan associated with the problem is the target of investigations. The main investigation strategy is to check, one by one, the quarrels in which members of that clan have been involved. When a conflict has been identified, a solution is suggested by way of reconciliation or restitution. Of particular interest are attempts to provoke the responsible clan official. If a settlement of the dispute fails to bring the required result, there will be more rounds of investigation... (shrink)

Cycling is one of the typical recreational activities, transportation, and sport among elderly adults in the Philippines. Based on the study, cycling provides many benefits to physical health, promotes well-being, contributes to improved quality of life, and is a great way for elderly adults to prevent depression, anxiety, and other mental health issues. As cycling becomes more prevalent during pandemics, the road has changed to include adding more bicycle lanes. Thus, the researchers explore the lived experiences of senior cyclists, specifically: (...) (1) to describe the experiences, (2) challenges, and (3) coping mechanisms. Correspondingly, the study used fifteen (15) participants in an Interpretative Phenomenology Analysis (IPA) procedure. The following findings are drawn from the study: (1) Most of the senior cyclists experienced life-threatening events while cycling, they experienced a high level of satisfaction and happiness, (2) Most senior cyclists are not bothered by the difficulties that others might view as a barrier to them continuing to pedal with passion. (3) Despite all the obstacles they may encounter, senior cyclists choose to get through those challenges by being understanding, patient, and calm. (shrink)

abstract: This essay explores the parallels in the life and teaching of the Korean Zen master Pojo Chinul (1158–1210) and the Franciscan saint and theologian Bonaventure of Bagnoregio (ca. 1217–1274). Living during the same thirteenth century but on opposite sides of the world, both men committed their lives to reforming the religious life and to attaining the experience of awakening in their respective traditions. To this end, both encouraged the study of their foundational texts, together with the earnest practice of (...) meditation and contemplation. Both commented on the issues of a kataphatic and apophatic approach to ultimate reality, finding in the latter a fuller description (by non-description!) of the goal of the spiritual life. Controlling thoughts and developing intuitive wisdom were practices that united the two men, aiming to establish a constant awareness of the numinous moment by moment. In this way, they rejoiced in the freedom from fear bestowed by awakening to a clear vision of things as they really are in the unity of the infinite yet intimate being that undergirds all things. Ultimately, they seem to part company in the practice of devotion, with Bonaventure pointing to the love of the crucified Jesus, and yet even here, the remembrance of the name of the Buddha or the Christ was valued by both as an authentic path to the journey's goal. (shrink)

Discusses the complexities and paradoxes of love as represented in the history of Western philosophy and Christianity. In The Asymptote of Love, James Kellenberger develops a theory of religious love that resists essentialist definitions of the term and brings into conversation historical debates on love in Western philosophy and Christian theology. He argues that if love can be likened to a mathematical asymptote, which is a straight line that infinitely approaches a curve but never quite reaches it, then the (...) asymptote of love reaches toward the infinite endpoint of love at its uttermost, namely, God’s love. Drawing upon a broad range of thinkers who have put forth classic debates on love—such as St. Augustine of Hippo, Anders Nygren, and St. Thomas Aquinas, as well as some lesser known figures in the debate, such as Leo Tolstoy and Albert Schweitzer—Kellenberger explains the profound connection between human agape and God’s infinite love in its capacity to offer both directive guidance and to exist beyond human conception. James Kellenberger is Emeritus Professor of Philosophy at California State University, Northridge and the author of God’s Goodness and God’s Evil. (shrink)

This book examines the philosophy of the nineteenth-century Indian mystic Sri Ramakrishna and brings him into dialogue with Western philosophers of religion, primarily in the recent analytic tradition. Sri Ramakrishna’s expansive conception of God as the impersonal-personal Infinite Reality, Maharaj argues, opens up an entirely new paradigm for addressing central topics in the philosophy of religion, including divine infinitude, religious diversity, the nature and epistemology of mystical experience, and the problem of evil.

In an urbane and persuasive tract for our time, the distinguished Catholic theologian combines a comprehensive metaphysics with a sensitivity to contemporary existentialist thought. Father Murray traces the “problem of God” from its origins in the Old Testament, through its development in the Christian Fathers and the definitive statement by Aquinas, to its denial by modern materialism.Students and nonspecialist intellectuals may both benefit by the book, which illuminates the problem of development of doctrine that is now, even more (...) than in the days of Newman, a fundamental issue between Roman Catholic and Protestant, theologians and nonspecialst intellectuals alike will find the subject of vital interest. As a challenge to the ecumenical dialogue, the question is raised whether, in the course of its development through different phases, the problem of God has come back to its original position. Father Murray is Ordinary professor of theology at Woodstock College, Woodstock, Maryland. St. Thomas More Lectures, 1."A gem of a book—lucid, illuminating, brilliantly written. A fine contribution to the current Catholic theological renaissance."—Paul Weiss. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 24.1 (2004) 117-133 [Access article in PDF] Emptiness, Kenōsis, History, and Dialogue: The Christian Response to Masao Abe's Notion of "Dynamic Śūnyatā " in the Early Years of the Abe-Cobb Buddhist-Christian Dialogue Charles B. Jones The Catholic University of America Introduction Between 1980 and 1993, the Japanese Zen scholar Masao Abe resided in the United States, teaching in various places.1 This brought him into (...) contact with many American scholars and theologians, among whom was John Cobb, a Protestant theologian then working in the area of process theology. Many of the ideas that Abe brought from Japanese Buddhism and particularly from the "Kyōtō School" of Japanese philosophy appeared to Cobb intriguingly congruent with his theological work, and the two began a series of dialogues that came to include a larger and larger circle of Christian theologians2 and (mostly Western) Buddhist scholar-practitioners. The end result was a series of informal encounters as well as a series of three formal "International Buddhist-Christian Conferences" (1980, 1984, 1987; a second series of dialogues were held without Abe's attendance starting in 1998 after a hiatus under the name "International Buddhist-Christian Theological Encounter"3 ). From these encounters came an impressive number of publications from Abe and from a variety of other participants in what is sometimes known as the "Abe-Cobb Encounter."The agenda, following Cobb's suggestion and vocabulary, was to allow each side to "cross over" into the other; in other words, to study and internalize the worldview of the other in as much depth as possible without converting or losing one's connection with one's home tradition, abiding in the other side as a guest. Later, one was to "cross back," come home to one's own tradition and reflect on the benefits gained in wearing the other's shoes for a time.4 This agenda, which emphasized understanding the other's worldview and concepts of ultimate reality, suited the highly intellectual style of the dialogues, focused as they were on philosophical and theological concerns. [End Page 117]Nevertheless, even given the concern to study and understand the other's philosophical standpoint, a curious disconnect emerges when one studies the literature produced in this dialogue. During the early phase of these encounters in the 1980s, each side, Buddhist and Christian, appears to have taken one text as normative for the entirety of the other's tradition. For Abe, following his predecessors in the KyōtōSchool, the emblematic textfor Christianity was avery short one: the hymn toChrist recorded by Paul in Philippians 2:6-11. He was particularly drawn to the concept of kenōsis, "emptying," which he thought might serve as a cognate for the Buddhist idea of "emptiness" (Skt: śūnyatā ). While the Christians participating in the dialogueaccepted this as a point of contact, albeit with some reservations, others have objected strenuously to this approach, saying that Abe's method of interpreting this text did not hold to responsible methods of exegesis, and at any rate the passage was much too minute to support an entire theology of God and creation.5The Christian side by and large adopted much the same strategy in coming to grips with Buddhist thought, choosing a brief text as the paradigmatic statement of the Buddhist view of ultimate reality: the Mūlamadhyamaka-kārikā (Root Stanzas on the Middle Way; hereafter the MMK) of the second-century Buddhist thinker Nāgārjuna. In this instance, objections from the Buddhist side were not forthcoming, because Abe himself took the MMK as a normative statement of Buddhist thought. Nevertheless, his own presentation of Buddhism, especially his key notion of "dynamic śūnyatā, " went considerably beyond Nāgārjuna's presentation and thus elicited some objections from the Christian side for not hewing to their own understanding of Nāgārjuna. Because Abe never responded to these objections directly, the misunderstanding was left unresolved... (shrink)

""This book contains a careful, thorough, and where necessary skeptical as regards doubtful evidence (especially in the case of Plato and the Old Academy) of the beginnings in European thought of the negative or apophatic way of thinking and its relations to more positive or kataphatic ways of thinking about God. One of its greatest strengths, perhaps the greatest, is that the author makes clear that none of the persons concerned, Hellenic, Jewish or Christian, was engaged in the pursuit (...) of a philosophical abstraction, or the heaping of rhetorical superlatives on God. They were rather concerned to present the origin of the universe as an intimately present living reality which infinitely transcends our thought and speech. This, combined with careful attention to the varieties of negative theology and its relations with positive, and the particular difficulties experienced by the members of the various traditions involved, makes the book the best introduction to the negative theology available."" -A. H. Armstrong, Emeritus Professor of Greek, University of Liverpool, England. Emeritus Professor of Classics, Dalhousie University, Halifax, Nova Scotia, Canada. Senior Fellow of the British Academy. Irish academic Deirdre Carabine has lived and taught in Uganda for more than twenty years. She has recently been founder Vice-Chancellor at the Virtual University of Uganda (VUU), the first fully online university in Sub-Saharan Africa. Prior to that she set up International Health Sciences University in Kampala. She has taught at Queen's Belfast, University College Dublin, and Uganda Martyrs University. Currently, she is Director of Programmes at VUU. She attended the Queen's University of Belfast where she graduated with a PhD in philosophy, and University College Dublin where, as one of the first Newman Scholars, she gained a second PhD in Classics. She is also author of John Scottus Eriugena in the Great Medieval Thinkers Series (2000). (shrink)

Sometimes people posit "beliefs" to explain mundane instrumental actions (e.g., Neil believes the switch is connected to the light, so he flipped the switch to illuminate the room). Sometimes people posit "beliefs" to explain group affiliation or identity (e.g., in order to belong to the Christian Reformed Church Neil must believe that God is triune). If we set aside the commonality of the word "belief," we can pose a crucial question: Is the cognitive attitude typically involved in the first (...) "light switch" sort of case the same as the cognitive attitude typically involved in the second "Trinity" sort of case? Or: Is mundanely believing the same cognitive relation as groupishly believing? In this essay, I argue that the answer is no. Mundane Beliefs play their instrumental roles well if they are true, and their manner of processing is accordingly sensitive to evidence. Groupish Beliefs play their identity-constituting roles well if they are distinctive, and their manners of processing accordingly allow for and often support distortions of evidence and truth. The manners of processing are thus so different that--despite the common word "belief"--philosophy of mind and epistemology would do well to recognize distinct cognitive attitudes. (shrink)

The article highlights the conceptual issues related to Kant’s analysis of the soul, a concept of utmost importance for the metaphysics and psychology of German academic philosophy (Schulphilosophie) of the Enlightenment was significantly dependent on the developed and systematically presented philosophical and scientific ideas and concepts of Christian Wolff. Kantian philosophy, its themes, and conceptual language were formed in the crucible of Wolfean discourse, and from the early 1770s in the struggle against it, which led to the emergence of (...) a new, critical philosophy – transcendental idealism, in which the problem of the soul, consciousness, and self-awareness became fundamental. It is this issue that was thoroughly covered in the «Critique of Pure Reason» and other works that were published later, after the first Critique. The article draws attention to Kant’s Lectures, which, on the one hand, demonstrate his critical attitude towards the so-called Wolfians, their metaphysics, and psychology, and, on the other hand, the lecture materials illustrate Kant's new conceptual position, and, what is important, develop, supplement and clarify it. The sources of Kant’s lectures are highlighted, taking into account the fact that we have at our disposal lecture notes, the authors of which are either unknown or, if known, their authorship is still somewhat doubtful, since they are notes that different people have rewritten. The article analyses lecture notes on psychology, the authors of which are more or less well-known, and experts recognize these notes as quite valid. The conceptual content of these lectures allows us to look at Kant’s understanding of the problem of the soul in a somewhat broader context compared to the «Critique of Pure Reason», where this problem is analyzed in connection with the paralogisms of reason and the transcendental deduction of categories. In his lectures on psychology, Kant draws attention to the problem of the interaction of the soul with the human body, the «location of the soul», linking it not so much to the organs of the human body (for example, the head) as to the location of a person as a bodily being in the world makes all acts of consciousness, self-awareness, and sense perception possible. Kant emphasizes the basic importance of such a spatial location of a person for the soul, as something that belongs to a person with a certain integrity, and not a separate organ, to act properly, to perform its cognitive functions. The article analyses the problem of existence, which is important for critical philosophy, its various modalities, and predication, with a special emphasis on the problem of the existence of metaphysical objects - the soul, God, and the world as a whole. (shrink)

The Church at all times of human existence occupied an important place in the life of society. Under modern conditions, people often feel unprotected, uncertain, and therefore forced to seek support and faith in their happy future. One way of creating a sense of inner peace for a believer is to communicate with God, and the Church acts as an intermediary in this process. Therefore, in our opinion, the Church, as a social institution, is to a large extent responsible for (...) the cultivation of those values ​​which it preaches and which consciously and subconsciously assimilates the citizens. Therefore, we believe that the Church should not be alienated from the problems of society, but, on the contrary, its activities should be oriented towards its modernization and, above all, in the spiritual aspect. For the Ukrainian society in its spiritual life Christian faith was and remains the leading one. In this article, we aim to justify the role of the Christian Churches in shaping the sense of responsibility of our believers. (shrink)

A generation of students at the Faculty of Theology of the K.U.Leuven have been introduced by Roger Burggraeve to the thoughts of Emmanuel Levinas. Levinas has been for him a true "master in thinking". For Levinas responsibility is heteronymous because it does not start from the "I" but from the epiphany of the other as the face, appealing to me not "to kill" but to promote him/her. In and through the appeal of the face, the difference between the other and (...) me - expressed in the irreducible alterity of the other - is, ethically speaking, the appeal to the highest "non-indifference": proximity without absorption. As Levinas' thinking carries on obvious Jewish-Talmudic imprint, Burggraeve was interested as to how the concept of responsibility can be connected to a biblically inspired ethic. In which way can the Levinasian view on responsibility enhance a Christian anthropology, and in particular that one articulated by Louvain personalism, and in its turn inspired by a Christian anthropology, so that it benefits from uniquely Christian accents? In this Festschrift for Roger Burggraeve, authors explore the theme of "Responsibility, God and Society" in order to answer two questions. What does Levinas' ethic of responsibility have to offer Christian theology? And vice-versa, what can Christian theology offer to contemporary ethical thought on personal, relational and societal responsibility. (shrink)

According to Friedrich Schleiermacher, religiosity is rooted in feeling (Gefühl). As a result of our engagement with the world, on which we depend and which we can influence, we have both a sense of dependence and of freedom. Schleiermacher speculated that a sense of absolute dependence in reflective beings with self-consciousness (human beings) gave rise to religion. Using insights from contemporary philosophy of biology and cognitive science, I seek to naturalize Schleiermacher's ideas. I moreover show that this naturalization is in (...) line with Schleiermacher's outlook on biology, as he already had evolutionary considerations in mind when he wrote the Christian Faith (1830). While Schleiermacher rejects natural theology in a narrow sense (proofs for the existence of God), his project is natural theological in a broader sense, as it roots religion in experiences that we can examine using naturalistic theories. (shrink)