“OPENNESS TO THE WORLD”: KARL BARTH'S EVANGELICAL THEOLOGY OF CHRIST AS THE PRAY‐ER1

What is at stake in accounts of “prayer” is reflection on a practice that cannot be readily spoken of free from the most important considerations of God, world, human identity and the shape of its performance. Instead, if prayer “is not to become a harmless game and an endlessly babbling chatter” (Karl Rahner), attention needs to be paid to the god or gods that practices of so‐called “prayer” encounter, and it may be that much of what moves in the name of the God of Jesus Christ is, in Barth's terms, no‐god. For Barth not only has the knowledge of the practice of prayer, in a sense, been taken out of our hands in its Christ‐grounding, but its Christ‐shaped performance involves the determination of Christian life and its self‐reflective thought in the pattern of the new life that might be characterised as the properly ordered freedom of self‐dispossessing obedience.     

THEOPHANY AND INDICATION: RECONCILING AUGUSTINIAN AND PALAMITE AESTHETICS1

Based on an analysis of certain theophanic narratives in the Hebrew Scriptures (Exodus 3 and 19, 1 Kings 19), this article poses the question of their Christian exegesis: which of the Persons of the Holy Trinity appeared to the patriarchs and prophets of the Old Testament and how? This seemingly trivial question has become a decisive and controversial topic in the formation of two distinct theological aesthetics: one influenced by Augustine in the West and another that finds its culmination with Gregory Palamas in the East. The aim of this article is to reconcile the polemical interpretations of Old Testament theophanies by employing a Christological understanding of aesthetics as developed by Hans Urs von Balthasar (in his Herrlichkeit) and a more nuanced understanding of signification as developed by Husserl and Merleau‐Ponty under the concept of indication.