Is it Possible and Desirable for Theologians to Speculate after Barth?

This essay asks what Karl Barth meant by ‘speculation’ in volume two of the Church Dogmatics. Rather than equating speculative theology with metaphysical theology in general, Barth views speculation not as a monolithic act but as a conglomeration of modes of theological speech that undermine God's revelation in Jesus Christ. This essay argues that Barth's views of speculation, rather than undercutting the use of metaphysics in theology, pave the way for a responsible Christian use of metaphysics by tying one's use of categories and concepts in theology closely to the text of Scripture.     

A Broken Engagement: Reassessing Barth's Relationship to Kierkegaard on the Grounds of Subjectivity and Preaching

Despite Barth's initial appropriations of Kierkegaard, he famously discarded the Dane from the theological ‘canon’ due to the latter's alleged anthropocentric subjectivism. Yet Kierkegaard was himself a preacher and polemical homiletician, seeking merely to appropriate the objective truth of the proclaimed word. Barth's Basel prison sermons reveal this same endeavour to render the eternally significant message temporally significant for his hearers. In Kierkegaard's Christendom, a corrective focus on subjectivity was the only way to remain faithful to the ‘objective’ truth of the gospel. Barth and Kierkegaard are juxtaposed here not in contrast (as Barth might have preferred) but in affinity, in that both sought to evoke the dialectical subjectivity of objectivity through preaching.     

THE LIGHTNING AND THE EARTHQUAKE: KIERKEGAARD ON THE ANFECHTUNG OF LUTHER

By focusing discussion through Søren Kierkegaard's view of Martin Luther's initiation into the monastery (the lightning strike), it is suggested that an analogy can be discerned for Kierkegaard's own sense of divine vocation (the portentous ‘earthquake’ which he makes enigmatic reference to) and the ensuing self‐mortification of melancholy and religious scrupulosity which commentators have suspected in both figures. Kierkegaard's often ambivalent critique of Luther's Anfechtung is thus read as bearing ironic significance for his own struggles with ‘spiritual trial’ [Anfægtelse]. In this reading, Luther's Anfechtung is taken to signify for Kierkegaard both the anguish inherent to the authentic God‐relationship and also the dangerous possibility of the individual imagination's [Phantasi] capitulation into the precariously embellished realm of ‘the fantastic’ [Phantastiske]. It is here that Kierkegaard's emphasis upon individual responsibility – contrasted with Luther's concentration upon the role of the devil – demonstrates the fundamental differentiation between Kierkegaard's anatomy of Anfægtelse and Luther's Anfechtung.     

Kierkegaard on the Problems of Pure Irony

Søren Kierkegaard's thesis, The Concept of Irony, contains an interesting critique of pure irony. Kierkegaard's critique turns on two main claims: (a) pure irony is an incoherent and thus, unrealizable stance; (b) the pursuit of pure irony is morally enervating, psychologically destructive, and culminates in bondage to moods. In this essay, first I attempt to clarify Kierkegaard's understanding of pure irony as “infinite absolute negativity.” Then I set forth his multilayered critique of pure irony. Finally, I consider briefly a distinctly theological component in Kierkegaard's critique. I argue that this feature of Kierkegaard's account can and should be distinguished from the broadly ethical critique of pure irony that I sketch in the second section, even if these components of Kierkegaard's position are found together as a unified whole in The Concept of Irony. My overall goal in this essay is to reveal the subtlety and plausibility of Kierkegaard's critique of pure irony. I also attempt to disclose the richness of the Hegelian account of ethical life to which Kierkegaard recurs in his thesis.     

The Sacrifice of Silence: Fear and Trembling and the Secret of Faith

This article examines the important hermeneutical and theological relation between silence and sacrifice in Søren Kierkegaard's (1813–55) divisively enigmatic Fear and Trembling. I contend that this relation becomes clearest when the silence of Abraham is explicated in relation to his esoteric proclamation that ‘God himself will provide a lamb for the burnt offering’. In Abraham's reply to Isaac, the secret of Abraham's faith is concomitantly revealed (as a trust in the notion that ‘with God all things are possible’) and concealed (as a paradoxically ‘impossible’ possibility which cannot be adequately conveyed to ‘the other’). This thereby proposes a qualitative distinction between Abraham's reverent silence before God and his aporetic silence before the other.     

Kierkegaard's Phenomenology of Spirit

Kierkegaard's preoccupation with a separation between the ‘inner’ and the ‘outer’ runs through his work and is widely thought to belong to his rejection of Hegel's idealist monism. Focusing on The Concept of Irony and Either/Or, I argue that although Kierkegaard believes in various metaphysical distinctions between inside and outside (the inwardness of faith and the outwardness of ethics and language; the inwardness of emotion and the outwardness of behavior), he nonetheless understands the task of the philosopher as that of making outside and inside converge in a representation. Drawing on Hegel's philosophy of art, I show that Kierkegaard's project in both of these books is the aesthetic project of revealing the inner essence of something in its outward appearance. Kierkegaard's portrait of Socrates in The Concept of Irony is a phenomenology of the spirit of irony. My interpretation adds a new dimension to our understanding of Kierkegaard's aesthetics and his relation to Hegel; it presents him as a follower of Plato, whom he is usually thought to have dismissed; and it uncovers a deep connection between Kierkegaard's first two books, which are never read in conjunction.     

KIERKEGAARD'S ANTHROPOLOGY OF THE SELF: ETHICO‐RELIGIOUS AND SOCIAL DIMENSIONS OF SELFHOOD

It is sometimes argued that the concept of the self is the unifying thread that ties together the rich diversity of philosophical and theological themes in Kierkegaard's works. 1 In his conception of the self he provides us with a coherent and unified view of human existence. For Kierkegaard the self is not a static entity but a dynamic and unfolding reality, something I must strive to become. One is not a self but becomes a self as an ethico‐religious task to be actualized. The purpose of this paper is to outline Kierkegaard's anthropology of the self with particular emphasis on the ethical and religious dimensions of selfhood. I will first elucidate the structure and dynamic character of the self, and then will examine the dialectical development of the self in the ethical and religious stages of existence. Finally I will address the widespread criticism of Kierkegaard's conception of the self as being radically individualistic and asocial.     

The Promise of an Actualistic Pneumatology: Beginning with the Holy Spirit in African Pentecostalism and Karl Barth

Christians in the developing world are sending a clear message to all who will listen: more attention needs to be paid to the Holy Spirit than ever before in the history of Christian thought. This essay explores what African Pentecostalism could teach Karl Barth and in particular how the actualistic Christology that Barth is known for can be applied to concrete acts of the Holy Spirit. The essay employs James Buckley's distinction between what Barth says versus what Barth shows to demonstrate profound possibilities that exist within Barth's thought for beginning theological reflection from the concrete acts of the Spirit.     

Art and the ‘Morality System’: The Case of Don Giovanni

Mozart's great opera, Don Giovanni, poses a number of significant philosophical and aesthetic challenges, and yet it remains, for the most part, little discussed by contemporary philosophers. A notable exception to this is Bernard Williams's important paper, ‘Don Juan as an Idea’, which contains an illuminating discussion of Kierkegaard's ground‐breaking interpretation of the opera, ‘The Immediate Erotic Stages or the Musical‐Erotic’, in Either/Or. Kierkegaard's pseudonymous author's (A) approach here is, in some respects, reminiscent of a currently rather fashionable narrative‐inspired moral philosophy, of which Williams himself is perhaps the most impressive recent exponent. In the light of this apparent methodological confluence, Williams's disagreement with A about the meaning of Don Giovanni's final two scenes seems particularly significant. By offering an interpretation of Don Giovanni that both retains A's fundamental ideas and manages to get round the problems in Williams's account, I will show that the greatness of Mozart's opera is largely a function of the challenge it presents to the ‘morality system’.     

ENGAGING SCIENCE IN THE MODE OF TRUST: HANS KÜNG'S THE BEGINNING OF ALL THINGS

In 2006 Swiss theologian Hans Küng added his distinctive and important voice to the science/theology discussion in his work Der Anfang aller Dinge. I summarize here the general contours of Küng's argumentation and briefly evaluate his proposals, especially in relation to his earlier publications. English translations are provided for German citations. After summarizing Küng's response to the question of the search for a unified theory of everything, I present his answer to the question of how theology and science should be related. This leads to a summary of his extensive meditation on science and the question of God's existence from a theological‐philosophical perspective. After examining his thesis concerning creation and evolution, I discuss matters more anthropological and trace the final elements of Küng's argument as they relate to eschatology and science. Finally, I evaluate the general thrust of his argumentation with special reference to his previous publications.     

The Life of Spirit: The Self and Sanctification in Søren Kierkegaard's The Sickness unto Death

Danish theologian and philosopher Søren Kierkegaard is often overlooked as an author in the Christian spiritual tradition. This paper answers Christopher Barnett's call to investigate themes of Christian spirituality in Kierkegaard's writing. In this paper, I argue that we can construct of vision of sanctification from Kierkegaard's The Sickness unto Death. While Kierkegaard does not directly deal with themes of sanctification in The Sickness unto Death, Kierkegaard's pseudonym Anti-Climacus does demonstrate the ‘spiritless’ life of despair. The ‘spiritless’ life, as Anti-Climacus defines it, is a life that is not truly a ‘self’. Anti-Climacus systematically demonstrates four categories of despair, and all people not living in faith, whether they realise it or not, fit into one of these categories of ‘spiritless’ existence. I argue that by constructing the opposites of Kierkegaard's categories of despair I demonstrate that a ‘spirit-filled’ life exemplifies a vibrant Christian life of sanctification.     

Does John Henry Newman Have a Theo‐Drama?

The essay surveys Newman's work in literary drama, from an early essay on Aristotle's Poetics to his adaptation of Roman comedies for production at the Oratory School, in order to approach his affinities with Hans Urs von Balthasar's theological dramatic theory. Newman does not find a Balthasarian theo‐drama via literary drama – perhaps because he was not properly exposed to medieval religious drama – but scattered dramatic analogies in his history writing suggest that he undertakes a theo‐drama in that genre. Von Balthasar and Newman employ dramatic analogies to reject chiliastic apocalyptic and foster ‘keromatic’ apocalyptic.     

Saint Francis versus McDonald’s? Contemporary Globalization Critique and Hans Urs von Balthasar's Theological Aesthetics

Seattle, Prague, Quebec, Nice, Gothenburg, Genoa, Brussels, Barcelona, ≡ All these cities formed the setting of mass globalization protests. In most mass media reports, the presence of thousands of peaceful demonstrators has been outshone by the pictures of radical activists smashing McDonald's and Niketown. In the search for an adequate theological response to today's context of globalization, this article takes precisely this radical activism as a starting–point. In line with those postmodern iconoclasts’ own legitimation, a theological approach to this case leads to the Marxist theory of fetishism and idolatry as it has already been investigated by liberation theologians two decades ago. Surprisingly, a renewed version of this critique of the theologization of economics can be found in No Logo (2000), the trend–setting globalization critique written by the Canadian journalist Naomi Klein. A theological close reading of this best–selling book brings to the light a recurrent use of religious metaphor to characterize the corporate logo as a major aesthetic figure in the context of globalization. In order to understand the aesthetic and (pseudo–)theological processes involved, a confrontation with the theological aesthetics of Hans Urs von Balthasar (in particular his essay on Bonaventure) delivers a striking formal parallel between the Church's cross and today's corporate logo. Beyond an at first sight similar theo–aesthetic programme, Balthasar's theological aesthetics however opens up a position which enables us to expose the contemporary global socio–economic system as a subtly inverted Christianity.     

Articulating Christian doctrine in the pluralistic world of the twenty-first century

The reviewer offers an appreciative theological summary of Veli-Matti Kärkkäinen's monumental text, Christian Theology in the Pluralistic World: A Global Introduction. Persaud calls attention to the trinitariancentre of Kärkkäinen's theological articulation, which is the basis for Kärkkäinen's openness to finding and naming commonalities and differences between biblical, creedal, confessional Christianity and each of the two other Abrahamic faiths (Judaism and Islam) and two Asiatic faiths (Hinduism and Buddhism). The reviewer calls for further engagement with the Joint Declaration on the Doctrine of Justification (31 October 1999), in relation to the pressing question of religious conversion in today's pluralistic world.     

Trinity and revelation: An appraisal of Veli-Matti Kärkkäinen

In Trinity and Revelation, Veli-Matti Kärkkäinen surveys a broad theological landscape before constructing a theological edifice for grasping the mystery of God's revelation in Christ with its significance for religious pluralism. This reader applauds Kärkkäinen for providing an integrated theological proposal that considers significantly not only the rich Christian theological tradition but also current scientific knowledge while respecting local or contextual theologies. This work will definitely contribute towards a more inclusive, open-minded, balanced, and dynamic theological enterprises in the field of constructive theology.     

II. Introduction to a reappraisal of fear and trembling 1

The idea of a knighthood of faith which involves a ‘teleological suspension of the ethical‘ is the most arresting feature of Kierkegaard's Fear and Trembling. It amounts to a theological shock treatment. It is therefore understandable that critics and commentators who have discussed Fear and Trembling have focused their attention almost exclusively on this extreme notion of faith. Their preoccupation has been unfortunate, however.     

Karl Barth and God in Creation: Towards an Interfaith Dialogue with Science and Religion

Is our neo-orthodox interpretation of Karl Barth correct? Does Barth's theology provide an opportunity to promote creative, equable dialog with natural science and religious pluralism? In this article, I contend that Barth's theological language of analogy, eschatology, nature, and Sabbath integrate with and complement scientific explanations.     

BEYOND THE SUBLIME: THE AESTHETICS OF THE ANALOGY OF BEING (PART TWO)

This essay, the second half of a larger work, offers a constructive proposal for a theological aesthetics based upon a theological ontology of the analogia entis. The doctrine of the analogia entis, as articulated most famously by Erich Przywara, S. J., has been the subject of much criticism; however, the essay attempts to defend the doctrine, specifically, against the criticisms of Karl Barth and Martin Heidegger. The essay then offers a précis of Przywara's actual doctrine—beyond typical characterizations of it—with a view to the possibility it offers for a theological aesthetics and, specifically, for a genuinely theological account of the relationship between the beautiful and the sublime.     

THE HOLY & WHOLLY OTHER: KIERKEGAARD ON THE ALTERITY OF GOD

In response to prevailing perceptions, I contend that Søren Kierkegaard (1813–55) conceives of the wholly otherness of God via his dialectical category of the ‘infinite qualitative difference’ between the human and the divine, initially through the self's consciousness of sin and ultimately through the self's acceptance of the gift of forgiveness. Therefore, I claim that while the common designation of Kierkegaard's God as ‘Wholly Other’ may initially evoke the alterity of sin; it is not ultimately sufficient to describe the divine alterity which Kierkegaard regards as more faithfully manifest in the ‘impossible possibility’ of forgiveness. Through this reading, I finally suggest that the ‘Wholly Other’ is not ultimately representative of God in Kierkegaard's writings and might be more faithfully supplemented by the appellation of the Holy Other.     

The Free Harmony of the Faculties and the Primacy of Imagination in Kant's Aesthetic Judgment

This essay argues that, contrary to the prevailing view according to which reflection in Kant's aesthetic judgment is interpreted as ‘the logical actus of the understanding’, we should pay closer attention to Kant's own formulation of aesthetic reflection as ‘an action of the power of imagination’. Put differently, I contend in this essay that the rule that governs and orders the manifold in aesthetic judgment is imagination's own achievement, the achievement of the productive synthesis of the ‘fictive power’ (Dichtungsvermögen), entirely independent of the understanding. While this view does not entail that the faculty of the understanding is not necessary in aesthetic reflection, a stronger emphasis on the role of imagination in aesthetic reflection allows us to realize that its schematizing and interpretive activity, while consistent with, goes well beyond the discursive demands of the understanding insofar as it intimates the supersensible ground of freedom that manifests itself as ‘the feeling of life’. Therefore, I show in this essay that the imagination's unique interpretive power has a special role in completing Kant's critical system by facilitating the connection of the sensible to the supersensible, which further helps us appreciate imagination's practical as opposed to merely cognitive significance.