In a classic article, philosopher William P. Alston argues that nonrealism, “though rampant nowadays even among Christian theologians,” is “subversive” of theistic faith.1 Among contemporaries guilty of succumbing to this philosophical bogey, Gordon Kaufman is singled out as an especially illuminating example. Alston notes that in the essays that make up God the Problem, Kaufman makes use of a distinction between the “available referent” of theistic language and its “real referent,” the former indicating the actual object of religious experience and (...) responses, and the latter appearing only as the “I-know-not-what” that ultimately grounds them. By the time Kaufman writes In Face of Mystery, Alston suggests, the .. (shrink)

Gordon Kaufman's theology is characterized by a heightened tension between transcendence, expressed as theocentrism, and immanence, expressed as theological naturalism. The interplay between these two motifs leads to a contradiction between an austerity created by the conjunction of naturalism and theocentrism, on the one hand, and a humanized cosmos which is characterized by a pivotal and unique role for human moral agency, on the other. This paper tracks some of the influences behind Kaufman's program (primarily H. Richard Niebuhr and Henry (...) Nelson Wieman) and then utilizes the flat ontology that emerges in the work of philosopher/sociologist of science Bruno Latour and of environmental philosopher Timothy Morton in order to point toward a reconstructed immanent theocentrism that no longer stakes meaning and value on the unique place of the human. Such a theology remains theocentric, but is now fully ecological. (shrink)

Though Catherine Keller frequently publishes essays, and many of her book chapters have had their beginnings in journal articles, most of the material she is known for has been delivered in the form of tightly organized, if somewhat chaophilic, monographs. What makes Keller's latest offering, Intercarnations, distinctive is that it is a collection of recent stand-alone pieces, some of which carry her ideas and her deterritorializing style into new territories. There is no tight organization here, only resonances across various interventions (...) and themes. Nor does Keller suggest a preferred order for reading. Like the rhizomatic entanglement suggested by her title, the text is a series and not an order.A recurring... (shrink)