Natural Signs And Knowledge Of God

Is there such a thing as natural knowledge of God? C. Stephen Evans presents the case for understanding theistic arguments as expressions of natural signs in order to gain a new perspective both on their strengths and weaknesses. Three classical, much-discussed theistic arguments - cosmological, teleological, and moral - are examined for the natural signs they embody. At the heart of this book lie several relatively simple ideas. One is that if there is a God of the kind accepted by Christians, Jews, and Muslims, then it is likely that a 'natural' knowledge of God is possible. Another is that this knowledge will have two characteristics: it will be both widely available to humans and yet easy to resist. If these principles are right, a new perspective on many of the classical arguments for God's existence becomes possible. We understand why these arguments have for many people a continued appeal but also why they do not constitute conclusive 'proofs' that settle the debate once and for all. Touching on the interplay between these ideas and contemporary scientific theories about the origins of religious belief, particularly the role of natural selection in predisposing humans to form beliefs in God or gods, Evans concludes that these scientific accounts of religious belief are fully consistent, even supportive, of the truth of religious convictions.

Is there such a thing as natural knowledge of God? C. Stephen Evans presents the case for understanding theistic arguments as expressions of natural signs in order to gain a new perspective both on their strengths and weaknesses. Three classical, much-discussed theistic arguments - cosmological, teleological, and moral - are examined for the natural signs they embody. At the heart of this book lie several relatively simple ideas. One is that if there is a God of the kind accepted by Christians, Jews, and Muslims, then it is likely that a 'natural' knowledge of God is possible. Another is that this knowledge will have two characteristics: it will be both widely available to humans and yet easy to resist. If these principles are right, a new perspective on many of the classical arguments for God's existence becomes possible. We understand why these arguments have for many people a continued appeal but also why they do not constitute conclusive 'proofs' that settle the debate once and for all. Touching on the interplay between these ideas and contemporary scientific theories about the origins of religious belief, particularly the role of natural selection in predisposing humans to form beliefs in God or gods, Evans concludes that these scientific accounts of religious belief are fully consistent, even supportive, of the truth of religious convictions.

For many Christians, personal experiences of God provide an important ground or justification for accepting the truth of the gospel. But we are sometimes mistaken about our experiences, and followers of other religions also provide impressive testimonies to support their religious beliefs. This book explores from a philosophical and theological perspective the viability of divine encounters as support for belief in God, arguing that some religious experiences can be accepted as genuine experiences of God and can provide evidence for Christian beliefs.

Evidence and Religious Belief features eleven new essays on the question of whether religious belief must be based on evidence in order to be rational. Leading philosophers in the field discuss the demand for evidence, the ways in which available evidence differs from person to person, and the current arguments for and against religious belief.

Thirty years ago, Alvin Plantinga gave a lecture called "Two Dozen (or so) Theistic Arguments," which served as an underground inspiration for two generations of scholars and students. In it, he proposed a number of novel and creative arguments for the existence of God which have yet to receive the attention they deserve. In Two Dozen (or so) Arguments for God, each of Plantinga's original suggestions, many of which he only briefly sketched, is developed in detail by a wide variety of accomplished scholars. The authors look to metaphysics, epistemology, semantics, ethics, aesthetics, and beyond, finding evidence for God in almost every dimension of reality. Those arguments new to natural theology are more fully developed, and well-known arguments are given new life. Not only does this collection present ground-breaking research, but it lays the foundations for research projects for years to come.

Michael Sudduth examines three prominent objections to natural theology that have emerged in the Reformed streams of the Protestant theological tradition: objections from the immediacy of our knowledge of God, the noetic effects of sin, and the logic of theistic arguments. Distinguishing between the project of natural theology and particular models of natural theology, Sudduth argues that none of the main Reformed objections is successful as an objection to the project of natural theology itself. One particular model of natural theology - the dogmatic model - is best suited to handle Reformed concerns over natural theology. According to this model, rational theistic arguments represent the reflective reconstruction of the natural knowledge of God by the Christian in the context of dogmatic theology. Informed by both contemporary religious epistemology and the history of Protestant philosophical theology, Sudduth’'s examination illuminates the complex nature of the project of natural theology and its place in the Reformed tradition.

Apart from the work of God in creation, it’s notoriously difficult to explain the presence of beauty in the world and man’s appreciation for it. Indeed, the aesthetic realm (with its array of phenomena which engage the senses, the mind, and the heart) not only suits the biblical account of the universe, but also points toward it. In making this case, sixteen writers address the shortcomings of naturalistic narratives, the virtues of theistic accounts (particularly those grounded in Christ), and the manner in which the various arts resonate with Scripture. Along the way, readers will encounter the peacock’s tail and Farnsworth House; a Schubert piano sonata and “chopsticks”; Kintsugi and Kitsch; Hugh of St. Victor and Hans Urs von Balthasar; Kandinsky and Eisenstein; the Lydian and Phrygian modes; eucatastrophe and liminal space; McDonald’s and Don Quixote; Sméagol and the Blobfish; Stockhausen and Begbie; Adorno and Kinkade; Mount Auburn Cemetery and Narnia; Fujimura and Schopenhauer.

'God and Cosmos' provides a four-fold moral argument for God's existence that is cumulative, abductive, and teleological.