This chapter contains sections titled: Introduction and Background The Contemporary Scene: Versions of the Hiddenness Problem The Hiddenness Problem and the Problem of Evil The Contemporary Scene: Attempts to Solve the Hiddenness Problem Works cited.

“Divine hiddenness”, as the phrase suggests, refers, most fundamentally, to the hiddenness of God, i.e., the alleged fact that God is hidden, absent, silent. In religious literature, there is a long history of expressions of annoyance, anxiety, and despair over divine hiddenness, so understood. For example, ancient Hebrew texts lament God’s failure to show up in experience or to show proper regard for God’s people or some particular person, and two Christian Gospels portray Jesus, in his cry of dereliction (...) on the cross, as experiencing abandonment by God, whom he regarded as “Abba, Father”, an experience shared by many mystics, saints, and ordinary folk of all theistic traditions, described at its worst as “the dark night of the soul”. Understood in this way, divine hiddenness poses an existential problem for those who have such experiences. -/- However, “divine hiddenness” refers to something else in recent philosophical literature, especially since the publication of J.L. Schellenberg’s landmark book, Divine Hiddenness and Human Reason (1993). In this context, it refers to alleged facts about the absence of belief of God, on the basis of which one might think there is no God. For example, Schellenberg argues that, since there are nonbelievers who are capable of a personal relationship with God and who do not resist it, there is no perfectly loving God, while Stephen Maitzen argues that naturalism better explains the “demographics” of nonbelief than theism and Jason Marsh argues that naturalism better explains “natural nonbelief” than theism. Understood in this way, divine hiddenness constitutes putative evidence for atheism. -/- Although some of the recent philosophical literature addresses the problem understood in the first way (e.g., DeWeese-Boyd 2016; Garcia 2002), this entry focuses on divine hiddenness understood in the second way. The first section discusses the relationships between nonbelief and another source of alleged evidence for atheism: evil. The second section states and defends the argument from nonresistant nonbelief. The third section sketches attempts to explain nonresistant nonbelief from a theistic perspective. The fourth section states other responses to the argument from nonresistant nonbelief. The fifth section discusses the argument from the demographics of nonbelief and the sixth section discusses the argument from natural nonbelief. (shrink)

Faith has many aspects. One of them is whether absolute logical proof for God’s existence is a prerequisite for the proper establishment and individual acceptance of a religious system. The treatment of this question, examined here in the Jewish context of Rabbi Prof. Eliezer Berkovits, has been strongly influenced in the modern era by the radical foundationalism and radical skepticism of Descartes, who rooted in the Western mind the notion that religion and religious issues are “all or nothing” questions. Cartesianism, (...) which surprisingly became the basis of modern secularism, was criticized by the classical American pragmatists. Peirce, James and Dewey all rejected the attempt to achieve infallible absolute knowledge, as well as the presumptuousness of establishing such a knowledge by means of casting Cartesian hyperbolic doubt. They advocated an alternative approach which was more holistic and humane. This paper lays out Descartes’s approach and the pragmatists’ critique. Despite the place that pragmatic considerations hold in Jewish tradition, some thinkers reject the relevance of these ideas. Yet Berkovits’s thought suggest a different path. He rejected Descartes’ radical skepticism and his radical foundationalism, in favor of a moderate foundationalism, which allows for a belief in God alongside constructive doubts. Similar to Peirce’s conception of the fixation of belief, Berkovits views local doubts (distinct from the hyperbolic doubt) as necessary for thought. Berkovits’s understanding of the biblical human-divine encounter, following Rosenzweig, Buber, and Heschel, is conceptualized here as “encounter theology”. Berkovits criticizes the propositionalist attempts to prove God’s existence logically, as well as the presumptuousness of basing religious belief on the teleological world-order. However, Berkovits’s conception of the ‘caring God’ is not provable, and thus defined as a pragmatic ‘postulate’. The article concludes by considering Berkovits’s “encounter theology”. In contrast to the approach described by Haym Soloveitchik, of halakhic stringency and lack of subjective experience of God’s face, Berkovits’s approach is dialogic through and through. (shrink)

This study considers the hiddenness of God, and the problems it raises for belief and trust in GOd. Talk of divine hiddenness evokes a variety of phenomena--the relative paucity and ambiguity of the available evidence for God's existence, the elusiveness of God's comforting presence when we are afraid and in pain, the palpable and devastating experience of divine absence and abandonment, and more. Many of these phenomena are hard to reconcile with the idea, central to the Jewish and (...) Christian scriptures, that God is deeply lovingly concerned with the lives and emotional and spiritual well-being of human creatures; and the philosophical problem of divine hiddenness ranks alongside the problem of evil as one of the two most important and widely discussed reasons for disbelieving in God. -/- The central argument of the book is that the hiddenness problem, construed as an argument against the existence of God, rests on unwarranted assumptions and expectations about God's love and goodness. In challenging these assumptions, however, Michael C Rea also considers the question of why we should accept traditional positive characterizations of God's love rather than the negative ones suggested by the phenomena of divine hiddenness. In the final four chapters, Rea aims to address this question through discussion of God's widespread experiential availability, God's loving authorization of lament and protest, and the surprising ease of seeking and participating in a relationship with God. (shrink)

“The Problem of Divine Hiddenness” is an infelicitous phrase for two reasons. First, while it suggests that God both exists and hides, this phrase actually refers to a strategy of arguing that various forms of nonbelief in God constitute evidence for God’s nonexistence. Second, it suggests that there is only one problem for theistic belief here, while in fact this phrase refers to a family of arguments for atheism. This entry focuses on contemporary arguments from nonbelief to atheism. The (...) most important of these is defended by J. L. Schellenberg. Schellenberg claims that a loving God would ensure that there is no reasonable or inculpable nonbelief in his existence, since this belief is required for human beings to enter into a relationship with God, and since (according to theism) having such a relationship with creatures is a great good, and indeed is one of God’s most important goals. But, Schellenberg argues, since such nonbelief occurs among those capable of belief in God, theism should be rejected. The citations collected under General Overviews all concern Schellenberg’s argument. Other authors have independently constructed different arguments from nonbelief to atheism, and these are surveyed under Other Arguments from Nonbelief. The final five sections of this bibliography survey responses to arguments from hiddenness to atheism. Most of this literature explicitly concerns Schellenberg’s argument, but many of these replies could also be directed against the other arguments surveyed here. There are important connections between the problem of divine hiddenness and the problem of evil, and the relevant literature is discussed in a preliminary section entitled Divine Hiddenness in the Context of the Problem of Evil. (shrink)

The problem of divine hiddenness, currently a much-discussed topic in analytic philosophy of religion, can be summarized in the question, ‘Why is God not more obvious or apparent?’ Sometimes the problem is used to undermine theistic belief. Here we seek to add a unique contribution to the growing debate on this theme from the perspective of Reformed epistemology, particularly Alvin Plantinga's construal; moreover, we do so in a way that is theologically relevant. We conclude, with assistance from Scripture and (...) from Plantinga, that the problem of divine hiddenness is not a problem for the Reformed epistemologist. (shrink)

Talk about God is often the source of controversy. Theists and atheists are equally passionate when making their stand for or against belief in God. In this book, a wide range of philosophers of religion have come together to discuss how serious talk about God ought to be conducted for theists and atheists alike in what should be their common pursuit for truth. The essays both address methodological questions and provide a range of concrete samples of serious (...) God-talk, spanning from political, religion, and classical proofs of God's existence to the problem of evil. (Series: Nordic Studies in Theology / Nordische Studien zur Atheism, Vol. 4) [Subject: Religious Studies]Ã?Â?Ã?Â? (shrink)

Can belief be taken for granted when the modern self is now so thoroughly cut off from the transcendent? The philosopher Charles Taylor has argued, in his influential work A Secular Age, that it cannot. But theologian Ronald F. Thiemann, likewise a prominent public intellectual, asserts - against Taylor - that people can yet find divine significance in the ordinary and everyday as much as in structured faith and worship. Thiemann's subtle idea of the humble sublime hinges on a (...) notion of sacred immanence, or what he calls 'sacramental realism': of holiness present in the hidden. Finding continuity between theological and overtly 'secular' writers, he shows that the late medieval and early modern eras gave rise to the persistent idea that God may be found not just where he might be expected to be, but also in his opposite. Discussing in turn Luther, realistic painting and Charles Taylor's overarching narrative in A Secular Age, the author then pursues the theme of the humble sublime in the literary and social critical works of Anna Akhmatova, Langston Hughes, George Orwell and Albert Camus. He argues passionately in favour, even in a secular context, of the idea of sacred worth as a vital component of modern identity. This powerful melding of secular and sacred has a strong ethical and political dimension, especially in resisting tyranny. Thiemann's final book will appeal to all those committed to sacred value, whether agnostics, atheists or believers. (shrink)

Absence of health, that is, sickness in Africa is viewed in personalistic terms. A disease is explained as effected by 'the active purposeful intervention of an agent, who may be human', non-human (a ghost, an ancestor, an 'evil spirit), or supernatural (a deity or other very powerful being)' (Foster). Illness is thus attributed to breaking of taboos, offending God and/ or ancestral spirits; witchcraft, sorcery, the evil eye, passion by an evil spirit and a curse from parents or from an (...) offended neighbour. In view of these personalistic theories of ill health, treatment is through ritual purification, exorcism or sacrifices. For an appropriate diagnosis and intervention, it is imperative to determine 'who' caused the illness and then 'why' it was caused, to which answers are offered through divination by a healer. This interpretive framework, is applicable to all types of sickness, facilitates co-existence of African traditional healing and biomedical treatment, that is, plurality of health seeking practices. The approach fails to offer a constructive approach and contradicts the biblical healing framework whereby one may not have explanatory causes to a situation of ill health. This article engaged the biblical concept of shalōm as a relevant constructive framework. The Hebrew concept of shalōm, though distinctly salvific, is inclusive of holistic and personalistic healing aspects. The concept encompasses constructive aspects of completeness, wholeness, health, peace, welfare, safety, soundness, tranquillity, prosperity, perfectness, fullness, rest, harmony and the absence of agitation or discord, which provides a useful holistic healing theological framework. It therefore provides a health and well-being framework that is relational, sensitive and applicable to healing patterns in Africa. Using the case study of the Abaluyia people of East Africa, this article discussed bereavement as a state that requires healing and how the biblical framework of shalōm could be applied in fostering bereavement healing. (shrink)

According to the much-discussed argument from divine hiddenness, God's existence is disconfirmed by the fact that not everyone believes in God. The argument has provoked an impressive range of theistic replies, but none has overcome the challenge posed by the unevendistribution of theistic belief around the world, a phenomenon for which naturalistic explanations seem more promising. The confound any explanation of why non-belief is always blameworthy or of why God allows blameless non-belief. They also cast doubt on (...) the existence of a sensusdivinitatis: the awareness of God that Reformed epistemologists claim is innate in all normal human beings. Finally, the demographics make the argument from divine hiddenness in some ways a better atheological argument than the more familiar argument from evil. (shrink)

In his article ‘Divine hiddenness and the demographics of theism’ (Religious Studies, 42 (2006), 177-191) Stephen Maitzen develops a novel version of the atheistic argument from divine hiddenness according to which the lopsided distribution of theistic belief throughout the world’s populations is much more to be expected given naturalism than given theism. I try to meet Maitzen’s challenge by developing a theistic explanation for this lopsidedness. The explanation I offer appeals to various goods that are intimately connected with the (...) human cognitive constitution, and in particular, with the way in which we depend upon social belief forming practices for our acquisition of much of our knowledge about the world – features about us that God would value but that also make probable a lopsided distribution of theistic belief, or so I argue. (shrink)

The relationship between the eternity of the divine attributes and the origination of the universe (ḥudūth al-‘ālam), fate, and human freedom is among the most important problems of Kalām. This study deals with this problem by examining the connection of the kalāmī view of the origination of the world with God’s attributes in general and His eternal knowledge in particular. In this connection, it also revisits the issue of human free will. One of the main arguments of this paper is (...) that the difficulties in the explanation of the relationship between God and the universe lies on the misapprehension of the term eternity. The difficulties in the explanation of the divine attributes and their relation to the universe revolve primarily around the conception of eternity understood as the infinite succession of moments in time or as something before the beginning of time. On the other hand, if eternity is understood as an attribute peculiar to God only, which also embraces all the temporal extensions as a succession in it, we may provide some explanations regarding God’s attributes and their relation to the universe. Within this direction, some intellectual developments in the 20th century such as the theory of relativity and quantum physics have enabled us to posit a better concept of eternity that seems to be promising in the explanation of the abovementioned problems. (shrink)

A critique of J. L. Schellenberg's argument from Divine Hiddenness: Schellenberg's conclusion that since apparently there are 'capable inculpable non-believers in God' the cognitive problem of divine hiddenness is actually an argument for the non-existence of God. Schellenberg's conclusion seems at least partly based on his misunderstanding or disregard of significant aspects of the Judeo-Christian tradition and certain assumptions, especially regarding nature of religious belief as well as primacy and instrumentality of reason. I suggest that given the kind of (...) God proposed by the Judeo-Christian tradition it is not necessary that reasonable non-belief in His existence be impossible; moreover it may even be the case that possibility of reasonable non-belief is necessary given the nature and purposes of God as proposed by the Judeo-Christian tradition. (shrink)

The efforts to prove God's existence in the history of thought have been one of the fundamental problems of philosophy and theology, and even the most important one. The evidences put furword to prove the existence of God constitute the center of philosophy of religion’s problems not only philosophy of religion, but also the disciplines such as theology-kalam and Islamic philosophy are also seriously concerned. When we look at the history of philosophy, it is clear that almost all philosophers are (...) interested in the evidence in favour of and against the existence of God. Especially in recent times, religious experience has often been regarded as evidence of the existence of God. Studies in the field of religious and mystical experience have put forward many arguments concerning the use of religious experience as evidence. However, this study has been limited to experience of sense and pure consciousness claims rather than examining all of these arguments. In this study firstly, the analogy between experience of sense and religious experience will be deal with, and then claims that conciousness can be emptied by a number of methods which are defended by mystics. In addition, it will be tried to defend the opinion that the mystical experiences which are the common point of the two approaches are valid. The main emphasis of the article will be that these arguments can be used as evidence for the existence of God.Summary: Religious experience - which has not been considered as one of the classical evidences regarding the existence of God before being popular by recent studies – is started to be called one of the arguments. The most important reason for not arguing religious experience among the evidences of God’s existence is that it is a personal experience and therefore contains subjective perspectives. However, many researchers, who refuse to accept the criticism raised against religious experience with restricting to subjectivity, emphasized the importance of religious experience by highlighting the objective aspects of such experiences. This emphasis was not only on its significance, but also on the fact that it had a cognitive feature and thus it could provide evidence for the existence of God. The argument of religious experience is generally defined as an effort for demonstrating to existence of God with reference to several feelings such as spiritual experiences of human in face of creator and sacred Being, encounter with God, uniting, and annihilating selfness in Him. The emergence of such efforts, especially after the XVIIIth century, indicates that the history of the evidence does not go back much earlier. However, even if notas evidence, it is possible to extend the traces of religious and mystical experience to the history of religions such as Buddhism and Hinduism. Considering a great amount of the previous literature focused on religious experience in the West, It is easily seen that such research is still new. The main purpose in addressing such a controversial issue is to make the argument on the religious experience more current and to show whether the religious experience would be able to use as evidence for the existence of God.First title of this study comprises many different claims such as Walter T. Stace’s The Argument from Unanimity Richard Swinburne’s The Principle of Credulity, William P. Alston’s Perceiving God, John Hick’s Experience-as. However, instead of briefly giving out very different claims, the study chooses to focus on two arguments which are less discussed and can be given in more detail. The first is the argument based on the analogy between the religious experience and the sense experience. The fundamental point of this argument is sense experience. With reference to the similarities between the sense experience and the religious experience, it can be argued that religious experience is also cognitive and may function as an evidence for the existence of God. In other words, being perceptual and noetic, namely cognitive, of sense experience is addressed as a similar side of religious experience. Whether it is imaginary or real, eventually, it is necessary for an experience to have an object and being experience of something. Therefore, the religious experience includes the perception of a Transcendent Being that is beyond and in excess of the individual who experiences. Perception of the sense experience will definitely be different from the perception of religious experience. Researchers who think that the five sense organs do not run the perception of Sacred Beings, identified broader and various meanings for the perception. Thereby, in this approach, where the semantic field of perception is expanded, it was contended that human beings were able to perceive the transcendent, eternal, and unlimited God, and this can be explained in the epistemological sense. In order to use religious experiences as an evidence for the existence of God, it is necessary to determine whether such experiences are caused by God rather than something else. This raises the issue of the validity of religious experience. The researchers in this area have propounded various criteria to identify whether religious experience is existed or not. Experiences, which do not meet the criteria, are not considered existed even if they claim to be religious experience.The second is the argument that discusses whether it is possible to suggest an evidence for the existence of God by utilizing pure consciousness events. In general, this argument claims that the consciousness gets clear, and thus, mystic or Sufi experiences the Divine One with pure consciousness by discharging consciousness from all sensual contents and removing it from secular desire and wishes. The argument, which claims the experience of Divine One is direct, therefore uninterpretable, and experienced by pure consciousness, believes clearing the consciousness of mystics from sensual qualities such as seeing, hearing, and tasting. It is stated that it is possible for mystics to empty their sensory images and get rid of them, and thus, their desires and wishes could be lost. Especially, the thinkers who are connected with the philosophy of perennialism and defend this approach, thought that people, who have distinct religion, culture, and beliefs in different parts of the world and in various time periods, had the same experience and considered such experiences were universal by suggesting that this similarity could be called as common essence.Even though the claim which offers that the events of pure consciousness are the same everywhere have been criticized in many respects, the advocates of this approach have argued that the experience has the common essence, but the interpretation is different. This relationship, which was tried to be established between experience and commentary, caused a lot of work for both the thinkers who put forward the claims of pure consciousness and the researchers who opposed it. However, examining the relationship between experience and interpretation requires serious studies in socio-psychological, cultural and religious fields. Therefore, in order not to exceed the limits of the article, the relationship between experience and interpretation is briefly mentioned.While discussing two arguments, the main claims of the arguments were addressed, and the criticisms directed to this argument were not discussed as much as possible. However, some fundamental criticisms have been mentioned shortly for a better understanding of the discussion. Since such western-oriented claims mostly were deployed in a western context, the study excluded the comparison of the claims across different cultures. (shrink)

Abstract On Schellenberg’s formulation of the problem of divine hiddenness, a loving God would ensure that anyone capable of having a relationship with Him, and not resisting it, would be granted sufficient evidence to make belief in God rationally indubitable. And He would do this by granting a powerful religious experience to every person at the moment he or she reaches the age of reason. Here I lay out a new reason why God might delay revelation of himself, justifiably (...) allowing for some nonresistant nonbelief. Content Type Journal Article Category Article Pages 1-11 DOI 10.1007/s11153-012-9338-5 Authors Travis Dumsday, Department of Religious Studies, Livingstone College, 701 West Monroe St., Salisbury, NC 28144, USA Journal International Journal for Philosophy of Religion Online ISSN 1572-8684 Print ISSN 0020-7047. (shrink)

In the present article, he explains why divine silence poses a serious intellectual obstacle to belief in God, and then goes on to consider ways of overcoming that obstacle. After considering several ways in which divine silence might actually be beneficial to human beings, he argues that perhaps silence is nothing more or less than God’s preferred mode of interaction with creatures like us. Perhaps God simply desires communion rather than overt communication with human beings, and perhaps God has (...) provided ways for us to experience God’s presence richly even amidst the silence. (shrink)

J. L. Schellenberg’s Divine Hiddenness and Human Reason offers an argument for the non-existence of God. He argues that God’s existence isn’t evident and, thus, there exist cases of “reasonable nonbelief”. But, such nonbelief is inconsistent—Schellenberg argues—with the existence of a loving God desiring a personal relationship with others. In short, if (a perfectly loving) God exists, then reasonable nonbelief must be impossible. But, since there is such belief, we have good reason to think God doesn’t exist. In this (...) chapter, I argue that there is a way to resist Schellenberg’s conclusion because there is a reason that God might not make God’s existence evident. I begin by showing that the problem of hiddenness is a version of the problem of evil. Here, the obscurity of God’s existence is a kind of intellectual bad state akin to traditional moral or natural evils. This opens the door to a modified response to hiddenness based on approaches to the standard problem of evil. I take Hick’s soul making theodicy as the guiding theory altered to fit hiddenness. Hick appeals to the moral development in overcoming evil, whereas I focus on the development of faith in God as the kind of soul making feature hiddenness can spur. If God’s existence isn’t evident, the uncertainty here can promote robust trust in God and, through that faith, can provide a good reason that God might remain hidden. (shrink)

“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 lieu of an abstract, here is a brief excerpt of the content:A Model for the Many Senses of ScriptureFrom the Literal to the Spiritual in Genesis 22 with Thomas AquinasChristopher S. Morrissey (bio)Introduction: Many Senses Require Many TranslationsOn the mountain the Lord appeared (NETS, Gen. 22:14b)On the mount of the LORD it shall be provided (RSV)1In the mount of the LORD it shall be seen (KJV)On the mountain the LORD will see (NAB)ἐν τῷ ὄρει κύριος ὤφθη (LXX)in monte Dominus (...) videtur (Nova Vulgata)in monte Dominus videbit (St. Jerome’s Vulgate)In his book Abraham’s Curse, Bruce Chilton argues that in Gen. 22:14b, “the Septuagint’s Greek renders the Hebrew text” correctly (i.e., “with Yahweh as the subject of the verb”), whereas English translations like the King James Version (KJV) prefer to imply that the ram is the verbal subject. Chilton contends that “This is a case of translators caring more about doctrine than wording, and attempting to legislate what the Bible can say.”2Chilton’s textual exegesis does have some value. He notes that “Contextually [End Page 231] as well as grammatically, God is the subject: Yahweh ‘was seen’ on Moriah, liberating Isaac by means of divine intervention.”3 But with his polemics against the KJV, he fails to affirm the rich polysemy of the passage. He replaces one literal reading with another and then argues as if the two are at odds. But Scripture has many senses, a truth famously expressed in the medieval distich of Augustine of Dacia, best known in the version of Nicholas of Lyra: “The literal sense teaches what happened; what you believe, the allegorical; the moral, what you should do; where you are going, the anagogical.”4 Therefore Chilton is wrong to impute bad motives to anyone who would attempt to unfold the spiritual sense of a passage (“caring more about doctrine”), or even to anyone who would note that a passage has more than one literal meaning.Chilton’s own insistence on uncovering the univocal original meaning of a passage (through his preferred historical method of “generative exegesis”)5 is excessively literal, as if recourse to grammar would allow one “to legislate what the Bible can say.” When Chilton says “Yahweh ‘was seen’ on Moriah,” he is not contending that God was seen directly, literally, but rather interpreting the metaphorical or parabolical sense of the phrase “Yahweh was seen” (in Gen. 22:14b), because he glosses the meaning of the metaphor as “liberating Isaac by means of divine intervention”;6 that is, God is seen indirectly, cognitively, rather than literally with the eyes. Because literally seeing a ram is not opposed to cognitively understanding God’s action, the KJV, pace Chilton, can be defended contextually. To my mind, the Revised Standard Version (RSV), echoing the KJV, does the best job of rendering the Hebrew text literally, with “On the mount of the lord it shall be provided,” because this leaves open the many senses of the third person singular “it,” to be unfolded by exegesis. Thus more than one translation is required in order to appreciate all the significations being deployed in the treatment of “seeing” in Gen. 22:8 and 22:14. “It shall be provided”: More than one univocal sense of the “it” has to be uncovered by exegesis in this Scripture, in order to see what “it” is all about.To justify my opinion that the RSV most felicitously translates the Hebrew, I would like to prepare the way to a conclusion in which I compare the Septuagint’s translation (which follows Chilton’s preferred rendering of the context) with the Vulgate Latin translations. The path toward this conclusion will show that Chilton’s polemics, indicative of an exegetical attitude that is hostile to an appreciation of the many senses of Scripture, fail to see how the RSV translation is also defensible as keeping the reader’s mind open to the many senses of the Scriptural passage. But first things first. With the help of St. Thomas Aquinas, let me distinguish the various senses of Scripture and then point out how they are all exemplified here, all being signified by the text. [End Page 232] Click for larger view View... (shrink)

There are good reasons for envisioning a global discourse about God, premised necessarily agreed upon perfections considered to be by definition proper to God, and for thinking through the implications of our understanding of God for morality. Philosophically, it makes sense to hold that claims about omnipotence, omniscience, and other superlative perfections are indeed maximal, and define “God” wherever the terminology of divine persons is taken up. Religiously too, it makes sense to assert that a deity possessed of perfections is (...) not just the deity of one’s own tribe or religion, but also the deity of the whole world, whether acknowledged as such or not. This essay delves into the larger set of rich complexities by three moves. First, I look into a single extended historical case of the extension of the discourse about God beyond the Christian West, the discourse on God proffered by Western Jesuit missionaries in India from the sixteenth to twentieth centuries. Second, I place next to that Jesuit learning the instance of a famed Hindu theologian’s discourse on God, God’s perfections, and their moral implications. Third, I briefly step back and assess the dangers and fruitful prospects inherent in thinking about God and morality in an interreligious context. (shrink)

As much a doubter as a believer, Emily Dickinson often expressed views about God in general—and God with respect to suffering in particular. In many of her poems, she contemplates the question posed by countless theologians and poets before her: how can one reconcile a benevolent deity with evil in the world? Examining Dickinson’s perspectives on the role played by a supposedly omnipotent and all-loving God in a world marked by violence and pain, Patrick Keane initially focuses on her poem (...) “Apparently with no surprise,” in which frost, a “blonde Assassin,” beheads a “happy Flower,” a spectacle presided over by “an Approving God.” This tiny lyric,Keane shows, epitomizes the poet’s embattled relationship with the deity of her Calvinist tradition. Although the problem of sufferingis usually couched in terms of natural disasters or human injustice, Dickinson found new ways of considering it. By choosing a flower as her innocent “victim,” she bypassed standard “answers” to the dilemma in order to focus on the problem in its purest symbolic form. Keane goes on toprovide close readings of many of Dickinson’s poems and letters engaging God, showing how she addressed the challenges posed—by her own experience and by an innate skepticism reinforced by a nascent Darwinism—to the argument from design and the concept of a benevolent deity. More than a dissection of a single poem, Keane’s book is a sweeping personal reflection on literature and religion, faith and skepticism, theology and science. He traces the evolving history of the Problem of Suffering from the Hebrew Scriptures, through the writings of Paul, Augustine, and Aquinas, to the most recent theological and philosophical studies of the problem. Keane is interested in _how_ readers today respond to Emily Dickinson’s often combative poems about God; at the same time, she is located as a poet whose creative life coincided with the momentous changes and challenges to religious faith associated with Darwin andNietzsche.Keane also considers Dickinson’s poems and letters in the context of the great Romantic tradition, as it runs fromMilton throughWordsworth, demonstrating how thework of these poets helps illuminate Dickinson’s poetry and thought. Because Dickinson the poet was also Emily the gardener, her love of flowers was an appropriate vehicle for her observations on mortality and her expressions of doubt. _Emily Dickinson’s Approving God _is a graceful study that reveals not only the audacity of Dickinson’s thought but also its relevance to modern readers. In light of ongoing confrontations between Darwinism and design, science and literal conceptions of a divine Creator, it is an equally provocative read for students of literature and students of life. (shrink)

The problem of divine hiddenness is, along with the problem of evil, one of the two principal arguments for atheism in the current literature. Very roughly: If God really existed, then He would make His reality rationally indubitable to everyone (or at least everyone willing to engage Him in relationship). Since that hasn’t happened, God does not exist. Among the many replies made to this argument, a basic distinction might be drawn between (1) those made from within generic theism (theism (...) prescinding from any specific religion), and (2) those made from within a definite faith tradition and employing the distinctive doctrinal resources of that tradition. That same division is apparent in the literature on the problem of evil, and among faith-specific work on that problem, one idea occasionally entertained (especially in the context of natural evil) is that the reality of evil spiritual beings may play a role in a defence or theodicy. Heretofore no one has imported that idea into the debate over hiddenness. In this paper I try out several versions of this strategy, eventually arguing that for those branches of Christianity with a doctrinal commitment to the reality of fallen angels, novel responses to the hiddenness problem are thereby made available. It is clearly a response unlikely to persuade atheists, but for Christians willing to consider the problem from within a distinctively Christian perspective it may carry some force. It may likewise be of use to those less concerned about countering atheism and more concerned with simply answering the longstanding theological question of why God might properly permit rational doubt in His reality. (shrink)

This study focuses on the value of the logical universal in terms of being universal in the philosophy of Avicenna, and al-Ghazālī’s criticisms of Avicenna in the context of the logical universal. A philosophical analysis of al-Ghazālī’s criticisms of Avicenna is made by mentioning how these two thinkers explained the universal and its types, and by revealing the meaning that the universal corresponds to in their thought system. Accordingly, Avicenna talks about three types of universal. The intercourse between these universals (...) is based on an intrinsic relation. The one that determines this kind of relationship and gives a principle has to be an outsider of the universals. According to Avicenna the concept of being determines the meaning of universals and the personal relationship between universal types. In this respect, the rational universal is the reasonable of the universal; the rational universal may be necessary for the logical universal. Therefore, the concept of universal in Avicenna is related to existence. In al-Ghazālī’s thought, we can talk about three types of the universal. He does not name the types of the universal, but distinguishes them by describing them. In his distinction, the concept of partnership is considered in terms of being actual and potential, and being is divided based on these conceptual distinctions. In this respect, we cannot talk about a random distinction between the meaning attributed to universals by Avicenna and by al-Ghazālī but an inherent difference. Based on this separation, al-Ghazālī’s criticisms of Avicenna are also of a essential nature. One of the clearest signs of al-Ghazālī’s criticism of Avicenna lies in the meaning he attributes to the logical universal and the example he gives in the context of the logical universal. al-Ghazālī considers the logical universal as a meaning that does not accept commonality in terms of potential and actual, and attributes the commonality in it to a reason other than what it is. While Avicenna agrees that the meaning that al-Ghazālī’s attributes to the logical universal, saying that it is outside of approval, clearly emphasizes being the subject of conceptualization. al-Ghazālī, on the other hand, ignored this reference of Avicenna and emphasized that Avicenna would accept this, based on the example of “divine/dieu” he gave in the context of the logical universal. However, in Avicenna's philosophical system, it is not possible for the word "divine" to be the subject of imagination, because the “god” is not conceived, but perceived. According to him, the things which are the subjects of imagination potentially contain multiplicity. But the word "god” is not suitable to be the subject of imagination as it is a necessary being. In this respect, it can be analyzed whether al-Ghazālī’s criticisms are austere or nonsense in terms of the five arts (sophistry). The meaning that al-Ghazālī attributed to the logical universal and the examples he gave for this meaning constitute the inherent quality of his criticisms being of the kind of fallacy. (shrink)

J. L. Schellenberg's argument from hiddenness against the existence of God is simple. The primary argument is as follows.The Main Argument from Hiddenness If God exists, then no one would be epistemically rational for not believing in God. Some people are epistemically rational for not believing in God. Therefore, God does not exist.However, much of the issue concerning this argument surrounds the support for premise. As many have noted, Schellenberg's first premise does not demand an undeniable, incontrovertible proof for God's (...) existence. He merely claims that God would provide evidence sufficient for rational belief, and presumably this would entail that the only people who do not believe are culpable for their nonbelief. Their nonbelief would be their own fault. (shrink)

The problem of divine hiddenness is, along with the problem of evil, one of the two principal arguments for atheism in the current literature. Very roughly: If God really existed, then He would make His reality rationally indubitable to everyone (or at least everyone willing to engage Him in relationship). Since that hasn’t happened, God does not exist. Among the many replies made to this argument, a basic distinction might be drawn between (1) those made from within generic theism (theism (...) prescinding from any specific religion), and (2) those made from within a definite faith tradition and employing the distinctive doctrinal resources of that tradition. That same division is apparent in the literature on the problem of evil, and among faith-specific work on that problem, one idea occasionally entertained (especially in the context of natural evil) is that the reality of evil spiritual beings may play a role in a defence or theodicy. Heretofore no one has imported that idea into the debate over hiddenness. In this paper I try out several versions of this strategy, eventually arguing that for those branches of Christianity with a doctrinal commitment to the reality of fallen angels, novel responses to the hiddenness problem are thereby made available. It is clearly a response unlikely to persuade atheists, but for Christians willing to consider the problem from within a distinctively Christian perspective it may carry some force. It may likewise be of use to those less concerned about countering atheism and more concerned with simply answering the longstanding theological question of why God might properly permit rational doubt in His reality. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Adam Smith and the History of the Invisible HandPeter HarrisonFew phrases in the history of ideas have attracted as much attention as Smith’s “invisible hand,” and there is a large body of secondary literature devoted to it. In spite of this there is no consensus on what Smith might have intended when he used this expression, or on what role it played in Smith’s thought. Estimates of its significance (...) range from the laudatory—“one of the great ideas of history,” to the dismissive—“an ironic joke.”1 Commentators are also divided on whether Smith’s “invisible hand” has teleological or providential connotations, or whether it is simply a rhetorical device. John Kenneth Galbraith declared that we do a grave disservice to Smith if we insist on understanding his invisible hand as a kind of “spiritual force.”2 Spenser J. Pack maintained that the invisible hand was “a rhetorical device which Smith made up, and knew he made up” and certainly “not [End Page 29] a theological underpinning for Smith’s social and/or economic theory.”3 Others have adopted the opposite view. Jacob Viner contended that Smith’s economic theory becomes unintelligible if “the invisible hand” is evacuated of its theological significance.4 For David A. Martin, Smith’s use of the phrase pointed to the foundational role played by divine wisdom in Smith’s thought, while for Andy Denis, “the invisible hand concept in Smith was entirely and unambiguously theological.”5Surprisingly, given this situation, a systematic study of the uses of the expression before Smith has yet to be made.6 Indeed, it is not unusual to find claims that Smith invented the expression himself, or that it was primarily owing to his influence that the phrase first became widespread.7 Those who have made perfunctory efforts at a history of the phrase generally point to a few scattered literary references with a view either to judging them irrelevant to Smith’s oeuvre, or to suggesting that Smith’s (admittedly meagre) uses of the phrase are empty metaphors. This paper seeks to remedy this deficiency, offering a history of “the invisible hand” with a particular focus on the seventeenth and early eighteenth centuries. What clearly emerges from this survey is that the concept was relatively common by the time Smith came to use it. Moreover, while “invisible hand” was used in a variety of contexts, by far the most common involved reference to God’s [End Page 30] oversight of human history and to his control of the operations of nature. Almost certainly, then, when readers encountered the phrase in Smith, they would have understood it as referring to God’s unseen agency in political economy. Whether Smith was himself committed to such a view is more difficult to determine, but the history of the expression and the contexts in which it appears in Smith’s writings offer some support for providentialist readings.Hidden and Invisible HandsThe expression “invisible hand” was not commonly used before the seventeenth century. It does not occur in classical literature (although some have suggested that the phrase may be found in Ovid).8 Neither does it appear in the Hebrew Bible or the New Testament.9 The earliest reference that I have found occurs in a Greek liturgy which invokes God’s “invisible right hand which is full of blessing.”10 The liturgy was used by the Alexandrian Church and its origins date back (probably) to the second century. However, [End Page 31] the expression is relatively rare in subsequent patristic and medieval writings. In one of his Old Testament commentaries, Alexandrian Church father Origen (185–254 ce) attributed the Israelites’ defeat of the Amalekites, recorded in Exodus 17, to the agency of God’s hidden hand.11 Some later sources made reference to the work of a “hidden” or “invisible” hand of God in restoring individuals to health. Augustine of Hippo (354–430 ce) thus spoke of the hidden hand of God which heals and makes whole.12 A medieval source refers similarly to a wound being healed by the touch of an invisible hand.13 French Benedictine Petrus Cellensis (1115–83 ce) alluded to the action... (shrink)

"The condition Buber calls the 'eclipse of God' is the reality that modern life and the teachings of many scholars have in many ways destroyed the opportunity for intimacy with an eternal, ever-present, Thou, or God. Based in part on a series of lectures he gave in the United States in 1951, this book examines Buber's interpretations of Western thinking and belief around this notion of lost intimacy or direct contact with the Divine, focusing particularly on the relationships between (...) religion and philosophy, ethics, and Jungian psychology." -Reference and Research Book News. (shrink)

This dissertation is about the nature of perspectival thoughts and the context-sensitivity of the language used to express them. It focuses on two kinds of perspectival thoughts: ‘subjective’ evaluative thoughts about matters of personal taste, such as 'Beetroot is delicious' or 'Skydiving is fun', and first-personal or de se thoughts about oneself, such as 'I am hungry' or 'I have been fooled.' The dissertation defends of a novel form of relativism about truth - the idea that the truth of some (...) perspectival thought and talk is relative to the perspective of an evaluating subject or group. In Part I, I argue that the realm of ‘subjective’ evaluative thought and talk whose truth is perspective-relative includes attributions of knowledge of the form ’S knows that p.’ Following a brief introduction, chapter 2 presents a new, error-theoretic objection against relativism about knowledge attributions. The case for relativism regarding knowledge attributions rests on the claim that relativism is the only view that explains all of the empirical data from speakers' use of the word "know" without recourse to an error theory. In chapter 2, I show that the relativist can only account for sceptical paradoxes and ordinary epistemic closure puzzles if she attributes a problematic form of semantic blindness to speakers. However, in 3 I show that all major competitor theories - forms of invariantism and contextualism - are subject to equally serious error-theoretic objections. This raises the following fundamental question for empirical theorising about the meaning of natural language expressions: If error attributions are ubiquitous, by which criteria do we evaluate and compare the force of error-theoretic objections and the plausibility of error attributions? I provide a number of criteria and argue that they give us reason to think that relativism's error attributions are more plausible than those of its competitors. In Part II, I develop a novel unified account of the content and communication of perspectival thoughts. Many relativists regarding ‘subjective’ thoughts and Lewisians about de se thoughts endorse a view of belief as self-location. In chapter 4, I argue that the self-location view of belief is in conflict with the received picture of linguistic communication, which understands communication as the transmission of information from speaker's head to hearer's head. I argue that understanding mental content and speech act content in terms of sequenced worlds allows a reconciliation of these views. On the view I advocate, content is modelled as a set of sequenced worlds - possible worlds ‘centred’ on a group of individuals inhabiting the world at some time. Intuitively, a sequenced world is a way a group of people may be. I develop a Stalnakerian model of communication based on sequenced worlds content, and I provide a suitable semantics for personal pronouns and predicates of personal taste. In chapter 5, I show that one of the advantages of this model is its compatibility with both nonindexical contextualism and truth relativism about taste. I argue in chapters 5 and 6 that the empirical data from eavesdropping, retraction, and disagreement cases supports a relativist completion of the model, and I show in detail how to account for these phenomena on the sequenced worlds view. (shrink)

In two recent articles, Travis Dumsday has formulated a response to the problem of divine hiddenness on the basis of the Christian doctrine—especially Aquinas’s thought. I agree with Dumsday that Christians qua Christians can significantly contribute to the debate in question. However, in both articles the author overlooks a decisive aspect of Aquinas’s doctrine of faith and the Christian teachings that trace back to it. This article dwells on Dumsday’s interpretation of Aquinas’s thought, and from within my argument proposes a (...) different response to the problem of divine hiddenness. (shrink)

The theme that God suffers with his world has become a familiar one in recent years, but a careful examination is needed of what it means to talk about the suffering of God, avoiding the danger of a merely sentimental belief. This book offers a consistent way of thinking about a God who suffers supremely and yet is still the kind of God to whom the Christian tradition has witnessed, and also about a God who suffers universally and (...) yet is still present uniquely in the cross of Christ. It is at once both a survey of recent thought about the suffering of God and a proposal for a way forward in this important area of Christian theology. The author surveys four main trends of recent thought: the 'theology of the cross' in modern German theology ; American process theology; 'the death of God' theology; and finally, the rejection of the whole idea of divine passibility by modern followers of classical theism. He draws upon these schools of thought in the course of reflecting upon various aspects of the main theme of the study. This thematic structure enables an idea of divine suffering to be developed throughout the book, affirming that God freely chooses to limit himself, to suffer change, to journey through time and even to experience death while remaining the living God. (shrink)

One of the divine quotations narrated from the timeline of Qur’ānic revelation is seen as a word of Prophet Mohammad in the 30th verse of the surah of al-Furqān. It’s observed that the speaker of this verse is Prophet Mohammad and he complains to God about his tribe which neglects the Qur’ān. In the present study, semantic structure and the meaning area of the phrase “mahjūr”, which is the key word in this verse, the meaning of it in the timeline (...) of Qur’ānic revelation and the interpretations attributed to it in the following centuries are traced. Likewise by examining Qur’ānic exegesis chronologically and investigating the interpretations of the exegetes on the relevant verse, it’s tried to see the semantic breaking points, changes and transformations regarding this verse in the historical process. Finally, the approaches of the exegetes who interpreted this verse in terms of the method of maqāsidī tafsir or the principle of teleological interpretation are determined. The approaches detected in this respect are first explained in a descriptive style, and then they’re evaluated in an analytical point of view. The findings and conclusions we reached in this study are as follows: As stated by the majority of exegetes, especially Qatāda, al-Zamakhsharī, Ibn Atiyya, Fakhr al-Dīn al-Rāzī and al-Sa‘ālibī, the aforementioned verse belongs to the Prophet Mohammed in terms of both wording and meaning. It hasn’t been determined that there’s a conflict about the pertaining of this word to him. According to this hadith quoted in surah al-Furqān, the Qurayshi polytheists made unwarranted objections to the Prophet and the divine instructions that he brought, his heart was narrowed in the face of their attitude towards the Qur’ān, and for these reasons he complained about his tribe to God. It can be said that this meaning seen in Mecca in the tenth year of his prophethood, namely, insulting the Qur’ān, abandoning it, and denying the themes in it, also includes Muslims after the revelation period. Accordingly, it can be thought that the aspect and situation of not acting on the provisions of the Qur’ān and not thinking about its verses are also valid for the interlocutors of the next period. In this direction, when we look at the history of tafsir, it has been determined that the exegetes who interpreted this verse in terms of teleological interpretation asserted different approaches. It was seen that al-Zamakhsharī, al-Rāzī, Abū al-Barakāt al-Nasafī, al-Bikā‘ī, Kamālpasazāde, Sayhzāda and Ibn ʻĀshūr interpreted this complaint of the Prophet by associating it with the coming of punishment. Therefore, in compliance with them, this verse aimed to threaten all the interlocutors, especially the Quraysh. On the other hand, it has recognized that Ibn al-Qayyim al-Jawziyah, Ibn Kathir, Bursavī and Sayyid Qutb evaluated this verse in the context of the types and ways to abandon the Qur’ān. Thus, they interpreted the relevant verse in terms of maqāsidī tafsir in a way that would cover both the first addressees of Qur’ānic revelation and other interlocutors in the following periods. In a nutshell, it can be considered that not endeavoring to understand and interpret the Qur’ān, or keeping it away from family and social life, law, understanding of earning and spending, not referring to it in such matters, or giving up living a life pursuant to it, are some of the routes and sorts of abandonment of it for Muslims. (shrink)

RésuméL'article porte sur la science divine des singuliers dans le Tahāfut al-tahāfut et la Ḍamīma d'Averroès. Il examine comment le concept de relation, généralement négligé, intervient au coeur de la dispute entre Avicenne, al-Ġazālī et le Cordouan. Aux yeux d'al-Ġazālī, Avicenne tire sa conception fautive d'une connaissance divine « par mode universel » d'un mauvais usage de la relation dans le cas de la science de Dieu. Si le singulier change et que Dieu, lui, ne change pas, l'idée serait d'envisager (...) sa connaissance du singulier, en tant qu'il change, comme une relation pure, sans conséquence ontologique. Averroès conteste à la fois la critique d'al-Ġazālī et sa proposition, même si, d'un autre point de vue, il recourt lui aussi à la relation pure dans son commentaire de la Physique. (shrink)

Discussions on the concept of Marifatullah as the foundation of belief hold a significant place in theology. There are different opinions among schools of theology regarding whether those who do not receive divine messages must know God. The majority of scholars belonging to the Mu'tazila and Māturīdī schools, including Imam Māturīdī, state that human beings must know God. Although al-Ashʿarī accepts that the most prominent obligatory duties are the methods of reasoning that lead to marifatullah, he states that responsibility (...) in this matter is formed by transmission. However, we can say that whether the human mind is sufficient to reach the knowledge of God, the method of reasoning has reached a different dimension today from the sciences of psychology, genetics, and neurobiology. This study explored whether individuals can achieve marifatullah from a holistic perspective. Whether human beings can be held responsible for this issue has been evaluated through the sciences of psychology, genetics, and neurobiology, and the opinions of schools of theology on this issue have been criticized. When we think in terms of Marifatullah, we can say that man’s psychological sense of obligation to adapt to society leaves him intellectually under the influence of society. In terms of genetic determinism, human personality, behavior, and intellectual adventure are completely determined by genes. Therefore, it is impossible for men to reach marifatullah in the context of their mental abilities. From an epigenetic perspective, we see that human thought structure, behavior, and personality are formed as a result of interactions with the environment. Serious hesitation arises in this idea in terms of intellect being a source of responsibility. Humans are genetically influenced by the environment and society, and they have a suitable nature for this, revealing that their genetic structure is open to environmental influences. In terms of brain plasticity, factors such as the society, environment, and family in which people live can change their brains and enable them to live accordingly. Although life adventures appear to be within the framework of social harmony, there must also be intellectual and religious harmony within social harmony. This reinforces the idea that individuals tend to align more with the thoughts and beliefs instilled by culture given the adaptable nature of the human brain influenced by cultural factors. When the views of the schools of theology are considered considering these evaluations, it becomes clear that the Mu'tazilites and Māturīdīs' belief that the source of the wujūb of marifatullah is intellect is at a point that needs to be reconsidered in terms of human biology and psychology. Although the Asharites emphasize human beings attaining knowledge of God through intellect, their focus on prophethood indicates that a revelation offer appears more accurate concerning human nature in the context of Marifatullah. (shrink)

How can finite creatures know an infinite God? How do the limits of our intellect and language impact how we know God and talk about God? This book explores a doctrine called divine incomprehensibility in hopes to seek how a proper understand of God's incomprehensibility protects us from both a theological despair in which there is no hope for Christian theology and a theological idolatry in which we are tempted to believe we can capture the essence of God with (...) our thoughts or words. (shrink)

The empirical literature seems to indicate that prehistoric humans did not believe in God or anything like God. Why is that so, if God exists? The problem is difficult because their nonbelief was natural: their evolved mind and cultural environment restricted them to concepts of highly limited supernatural agents. Why would God design their mind and place them in their environments only to hide from them? The natural nonbelief of prehistoric humans is much more surprising given theism than naturalism. Thus, (...) it constitutes strong evidence that theism is false, or so Jason Marsh (2013) has argued. The "problem of natural nonbelief" is a debunking argument that invokes the genealogy of religious belief to cast doubt upon theism. In this chapter, we put it to the test. First, we argue on empirical grounds that it is not clear that natural nonbelief was prevalent: the empirical jury is still out on what prehistoric humans believed about gods. Second, we argue that even if natural nonbelief was prevalent, it would not be very surprising given theism. We conclude that natural nonbelief presents no problem for theism. We also turn the tables and suggest that the real problem is the problem of widespread belief in a High God (common consent), which is a problem for naturalism. (shrink)

The problem of divine hiddenness has become one of the most prominent arguments for atheism in the current philosophy of religion literature. Schellenberg (Divine hiddenness and human reason 1993), one of the problem’s prominent advocates, holds that the only way to prevent completely the occurrence of nonresistant nonbelief would be for God to have granted all of us a constant awareness of Him (or at least a constant availability of such awareness) from the moment we achieved the age of reason. (...) Now, if that were the case, we might be faced with a difficult obstacle to the development of a proper, meaningful relationship with God: namely, since the experience of God would be so unutterably wonderful (at least for some), we could be at risk of coming to commune with God not from love of Him but for the amazing experience that that communion involves. In other words, given that mystical union with infinite perfection is, qua experience, inconceivably better than that of any drug, we might come to treat God as something analogous to a powerful narcotic, seeking the experience for the pleasure of the experience more than from any devotion. Since God wants to foster genuinely meaningful relationship with Him, He rightly delays granting us such awareness of Himself, even though that leaves open the risk that nonresistant nonbelief could arise. (shrink)

In the present study we will direct our attention to the particular instances in which God appears as the subject of the verb נחם in the Pentateuch, where the context describes the reaction of ‘regretting’ or ‘repenting’ over a previous decision. In addition, in order to find out whether the Aramaic translators were consistent when trying to avoid anthropomorphisms, we will look at several of the occurrences of the verb in situations where it appears with a human, not a divine (...) subject. This comparative approach will allow us to locate the different dimensions of the semantic field in which a given verb functions. Hopefully the wider the picture of this field, the better the chances are that we will understand the motivations and beliefs that informed the particular choices the translators made. (shrink)

In this paper I explore and defend an interpretation of Calvin’s doctrine of the sense of divinity which implies the following claim: (CSD) All sane cognizers know that God exists. I argue that externalism about knowledge comports well with claim CSD, and I explore various questions about the character of the theistic belief implied by CSD. For example, I argue that CSD implies that all sane cognizers possess functionally rational theistic belief. In the final sections of the paper, (...) I respond to two main objections and argue that CSD is consistent with the existence of various kinds of atheists and agnostics. (shrink)

The empirical study of grace, a relational virtue, is in its beginning stages. The purpose of this study was to provide rich, context-based, qualitative data to describe Mainline Protestants’ (a) experiences of, and (b) beliefs about, divine grace. Interviews were conducted with 28 community adults who were affiliated with Mainline Protestant Churches. Results indicated that Mainline Protestant Christians have varying beliefs about divine grace and how it is related to both the present moment and the afterlife. Divine grace was often (...) defined as, or associated with, other relational virtues (e.g., forgiveness and love), and participants occasionally defined grace as a gift. In addition, divine grace was also reported to be difficult to accept at times for a variety of reasons, but the effects of divine grace have direct associations with participants’ overall well-being. Divine grace was also associated with beliefs about heaven or the afterlife, yet participants had varying beliefs about how grace is applied to non-Christians. Limitations and future directions for research are discussed in light of the present empirical literature on divine grace. (shrink)

Apparently, relationships between God (if He exists) and His creatures would be very valuable. Appreciating this value raises the question of whether it can motivate a certain premise in John Schellenberg’s argument from divine hiddenness, a premise which claims, roughly, that if some capable, non-resistant subject fails to believe in God, then God does not exist. In this paper, I argue that the value of divine–creature relationships can justify this premise only if we have reason to believe that the counterfactuals (...) of freedom work out in certain ways. Unfortunately, we can’t acquire such a reason, at least not without relying on other successful arguments (if there are any) for the relevant premise of Schellenberg’s hiddenness argument. (shrink)

In this paper I argue that Poston and Dougherty's attempt to undermine the problem of divine hiddenness by using the notion of belief de re is problematic at best. They hold that individuals who appear to be unbelievers (because they are de dicto unbelievers) may actually be de re believers. I construct a set of conditions on ascribing belief de re to show that it is prima facie implausible to claim that seemingly inculpable and apparent unbelievers are really (...) de re believers. Thus, while it is indeed possible that a de dicto unbeliever is a de re believer, it is unlikely that this has sufficiently general application to actual individuals to alleviate the problem of divine hiddenness. (shrink)

Julian N. Hartt once observed that Calvin so accentuates divine causation that he denies all secondary agency. A strong statement of God's omnipotence commits Calvin to the position that divine causation is the only connection that has any foundation in reality. And this claim, Hartt noted, places Calvin dangerously close to Spinozism. I have no stake in any analysis that attempts to indicate affinities between Calvin and the Dutch rationalist whom he predates by several generations. But, as Hartt suggested and (...) as I will demonstrate, a persuasive case can be made for Calvin's commitment to a thoroughgoing causal determinism that has God at the helm directing every event. Now one should note at the outset that Calvin has solid theological reasons for stressing the role of God's all-determining will in the course of events. As a Reformation theologian, he is a persistent defender of the utter gratuitousness of grace, thereby denying that the moral, spiritual, and epistemological chasm separating the human and the divine can in any way be reconciled by human being. Yet, for Calvin, grace possesses an omnicompetence – even faith is the gift of grace – which, when examined within the total context of his thought, reveals the radical dependence of the entire created order upon the will of God. (shrink)

This study investigates the prevalence of ‘Seeking God's Help’, its relation to time since diagnosis, and its association with Life Satisfaction for all cancer types. This study also investigates Disease-Specific Quality of Life for patients with breast, prostate, and colorectal cancers. Data were obtained from the third wave of the Nord-Trøndelag Health Study of Norway, with 2,086 cancer patients identified by the Cancer Registry of Norway and 6,258 cancer-free controls. Our results indicate a higher prevalence of ‘Seeking God's Help’ after (...) a shorter time since diagnosis among men. No association was observed in multivariate analyses between ‘Seeking God's Help’ and ‘Life Satisfaction’ or ‘Disease-Specific QoL’ in long-term cancer survivors. Longitudinal investigations are needed to elucidate the relationship between the ‘Seeking God's Help’ variable and Life Satisfaction and Disease-Specific QoL among cancer patients in a Norwegian context. (shrink)

J. L. Schellenberg's hiddenness argument is one of the key contemporary justifications for atheism and has prompted numerous responses from those defending the plausibility of belief in God. I will outline a recent counterargument from Michael C. Rea, who claims that relationships with God are far more widely available than Schellenberg assumes. However, I will suggest that it invites a response from proponents of the hiddenness argument because it leaves some nonbelievers unaccounted for. I will rectify this by suggesting (...) that a model of panentheism in which God is embodied in the cosmos allows all, including all nonbelievers, to have a relationship with God. I will then claim that semantic externalism and externalism about beliefs can enable nonbelievers to get to know this God. I will then challenge the hiddenness argument by suggesting that these relationships can accommodate the key motivations behind Schellenberg's insistence on personal relationships without requiring subjects to recognize that they are in a relationship with God. (shrink)

This excellent book consists of a translation of Plato's Euthyphro, plus "interspersed comment" intended "partly as a help to the Greekless reader in finding his way, and partly as a means of embedding the discussion of the earlier theory of Forms which follows it." That subsequent discussion is a series of sections aimed at establishing "that there is an earlier theory of Forms, found in the Euthyphro and other early dialogues as an essential adjunct of Socratic dialect" and that it (...) is not the same as the theory of Forms found in the Phaedo, Republic and other middle dialogues. In the Euthyphro Socrates' question of what holiness is assumes that there is a Form of holiness, "that this Form is a universal, the same in all holy things;... that that Form may be used as a standard, by which to judge what things are holy and what are not...; that it is an essence, by which or in virtue of which holy things are holy." As essences Forms are causes--formal, not efficient. They are "causes in the sense that they are that by which things are what they are. They therefore affect the career of the world, in that if they did not exist, the world would not be what it is." They "are not identical with their instances and [are] prior to their instances" and, hence, they are not in their instances. In fact, "Forms are as 'separate' from their instances in the early dialogues as they are" in the later ones. Do they not differ, then, from these latter Forms? Yes, because "of the way in which separation is conceived." In the Phaedo and other middle dialogues separation "involves something more than... nonidentity, independence, or priority. It involves the claim that instances of Forms are deficient imitations or resemblances of Forms.... To that theory was later conjoined, as a natural corollary, the theory that sensibles and Forms differ in their degree of reality, that Forms are more real than their instances." There are, in fact, "Two Worlds, Visible and Invisible.... The objects of the Visible World... are in a perpetually changing mortal realm, never the same with respect to each other or themselves. By contrast, Forms, the reality of whose existence we render an account in questioning and answering, exist always in the same way with respect to the same things, single in nature, alone by themselves, never in any way under any circumstances admitting alteration." This contrast between the Two Worlds is not drawn in the Euthyphro and earlier writings. Hence, between them and the middle dialogues there is a development in the theory of Forms. Of course, there also is "a unity to Plato's thought; but it is not the unity of a monument. It is the unity of growth and development, the unity of life." In these splendid pages one point remains unclear: how can a Form be universal and thus distinct from its instances and yet be their formal cause? Allen leaves no doubt that this is his position: "In Plato's early dialogues Forms are not the being of that of which they are Forms. A universal, being one, cannot constitute the being of a plurality--precisely why Aristotle was led to distinguish substantial form from universal. The Euthyphro does not imply that holiness is the being of any given holy thing or action as holy; it implies only that holiness is that by which holy things are holy. It implies, to borrow another bit of Aristotelian vocabulary, that holiness is a cause." But precisely in what way is a Form "that by which" something is what it is? Plato subsequently answers by distinguishing the Form itself, its character as participated by a particular thing, and the participant : the Form is that by which some thing is what it is through the participated character which the thing has. Is this answer implied in the Euthyphro? Or in what sense is a Form distinct from particular things? In what sense a formal cause? That puzzlement, though, is minor in the context of the entire book, which is valuable not only for the interpretation Allen gives of the early and middle dialogues but also for all sorts of unexpected bonuses. These are points either newly made or brilliantly reiterated--for example, the influence of Anaxagoras on Plato re the notion of essence and in philosophical vocabulary; Aristotle's abandonment of the contrast made in the Categories between primary and secondary substance; the crucial difference between genus/species in Aristotle and in Plato (enriched/impoverished; the analogy of a Platonic definition to mapping a field; the evaluation of Aristotle's interpretation of Plato's Forms, of his report on the "unwritten doctrines," of esoteric and exoteric teachings. This last culminates in a paragraph which all students of Plato should reflect upon constantly: "It is possible to treat Plato's text, not as evidence for something else, but as itself the primary object of historical understanding. The aim of the inquiry is then to interpret a set of literary documents, not to fathom the entertained beliefs of their author. It is reasonable, of course, to assume that the documents are a reliable index to the beliefs; but the connection, after all, is contingent, and as far as interpretation is concerned, unimportant. If Plato, in his heart of hearts, had been a nominalist, an atheist, a sceptic about immortality, and a hedonist, and had yet gone on to write the dialogues which he wrote for some obscure motive now unknown, this would not change the proper interpretation of what he wrote and privately disbelieved by one iota: when a man says what he does not believe, we may still perfectly well understand what it is he has said. The question, then, of whether Plato had beliefs he did not express, or beliefs contrary to what he did express, may be left to those with skill in the arts of divination; the historian may more reasonably limit himself to the study of texts and their meaning. If inquiry is construed in this way, it is self-referentially inconsistent to prefer the testimony of Aristotle to the evidence of Plato's text in the interpretation of Plato."--L. S. (shrink)

J. L. Schellenberg has recently argued that there is a logical incompatibility between God’s being perfectly loving and there being non-resistant nonbelievers in the proposition that God exists. In this paper I highlight the parallel between this claim and the claim made by the logical problem of evil. Following Plantinga’s strategy in undermining the logical problem of evil, I argue that all that is needed to undermine the alleged incompatibility of divine love with non-resistant non-belief is a counterexample showing (...) how the two might possibly co-exist. But whereas most attempts to show this have been grounded anthropologically, by drawing on forms of love-relationship that God and humans have in common, I offer a defense of the compatibility of perfect divine love with human non-resistant non-belief in God’s existence grounded theologically, in the unique sort of love relationship that God wants with us, which is the relationship of “imaging.”. (shrink)

We argue there is a deep conflict in Paul Moser’s work on divine hiddenness. Moser’s treatment of DH adopts a thesis we call SEEK: DH often results from failing to seek God on His terms. One way in which people err, according to Moser, is by trusting arguments of traditional natural theology to lead to filial knowledge of God. We argue that Moser’s SEEK thesis commits him to the counterfactual ACCESS: had the atheist sought after God in harmony with how (...) God reveals himself, she would have had access to filial knowledge of God. By failing to incorporate arguments or propositional evidence for God’s existence, Moser’s account leaves the doubting seeker without any evidential reason to think that either SEEK or ACCESS is true. Without this rational motivation in place, the doubting seeker is unlikely to seek after God in the way ACCESS describes. We argue that natural theology provides an evidential epistemic aid to motivate persons to seek God the way ACCESS describes. Thus, Moser is mistaken. Such arguments can be evidentially helpful in coming to know God. In conclusion, we explain how our reply naturally fits how we form and maintain trusting interpersonal relationships with others. (shrink)

God is thought of as hidden in at least two ways. Firstly, God's reasons for permitting evil, particularly instances of horrendous evil, are often thought to be inscrutable or beyond our ken. Secondly, and perhaps more problematically, God's very existence and love or concern for us is often thought to be hidden from us (or, at least, from many of us on many occasions). But if we assume, as seems most plausible, that God's reasons for permitting evil will (in many, (...) if not most, instances) be impossible for us to comprehend, would we not expect a loving God to at least make his existence or love sufficiently clear to us so that we would know that there is some good, albeit inscrutable, reason why we (or others) are permitted to suffer? In this paper I examine John Hick's influential response to this question, a response predicated on the notion of 'epistemic distance': God must remain epistemically distant and hence hidden from us so as to preserve our free will. Commentators of Hick's work, however, disagree as to whether the kind of free will that is thought to be made possible by epistemic distance is the freedom to believe that God exists, or the freedom to choose between good and evil, or the freedom to enter into a personal relationship with God. I argue that it is only the last of these three varieties of free will that Hick has in mind. But this kind of freedom, I go on to argue, does not necessitate an epistemically distant God, and so the problem of divine hiddenness remains unsolved.
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This article addresses the question of whether God's existence would be obvious to everyone if God performed more miracles. I conclude that it would not be so. I look at cases where people have been confronted with what they believe to be miracles and have either not come to believe in God, or have come to intellectual belief in God but declined to follow him. God's existence could be made undeniable not by spectacular signs, but only by God impressing (...) his existence upon us in a direct, non-propositional way. (shrink)