Scottish Journal Of Theology

This book re-imagines the universe (and the scientific study of it) through the lens of a triune Creator, three persons of irreducible identity in a perichoretic or coinherent communion. It modestly proposes that Trinitarian theology, and especially the coinherent natures of the Son in the incarnation, provides the metaphysic or “theory of everything” that manifests itself in the subject matter of science. The presence of the image of the triune God in humanity and of traces of this God in the non-human creation are discussed, highlighting ontological resonances between God and creation (resonances between the being of God and his creation), such as goodness, immensity-yet-particularity, intelligibility, agency, relationality, and beauty. This Trinitarian reality suggests there should be a similarity also with respect to how we know in theology and science (critical realism), something reflected in the history of ideas in each. These resonances lead to the conclusion that the disciplines of theology and science are, in fact, coinherent, not conflicted. This involves recognition of both the mutuality of these vocations and also, importantly, their particularity. Science, its own distinct guild, yet finds its place ensconced within an encyclopedic theology, and subject to first-order, credal theology.

This book fills these gaps in a striking and original way by means of ten concise thematic chapters which explain the origins of these concepts from the book of Revelation in an accessible way. These explanations are augmented and developed via a carefully selected sample of the ways in which the concepts have been treated by artists through the centuries. The 120 visual examples are drawn from a wide range of time periods and media including the ninth-century Trier Apocalypse, thirteenth-century Anglo-Norman Apocalypse Manuscripts such as the Lambeth and Trinity Apocalypses, the fourteenth-century Angers Apocalypse Tapestry, fifteenth-century Apocalypse altarpieces by Van Eyck and Memling, Dürer and Cranach's sixteenth-century Apocalypse woodcuts, and more recently a range of works by William Blake, J.M.W. Turner, Max Beckmann, as well as film posters and film stills, cartoons, and children's book illustrations.

In its attempt to ascertain the mechanisms of nature, contemporary science seems to be generating unanswerable questions. One way forward might be by appealing to a theistic metaphysics of the fundamental workings in natural science. Moving beyond Barth’s objection to natural theology, this work arrives at some of Emil Brunner’s exegetical insights indicating that nature is divine communication. This communication and revelation is understood through natural types, or onto-types, building upon the insights of Jonathan Edwards. Edwards proposed messages in nature as a language of God intending to convey spiritual, biblical, and theological messages to the creature as part of God’s end in creating. Edwards’s insights are brought forth to determine the usefulness of his typological method all the way down to cellular and molecular mechanisms. Edwards also proposed that God’s acting in nature reflects the Trinitarian God of the Christian faith. Therefore, a Trinitarian theology of Nature composing a Theo-logy of Nature, a Christology of Nature, and a Pneumatology of Nature explores how each divine person of the Godhead acts in perichoretic unity in the world we encounter. God’s Trinitarian powerful and magnificent glory is not merely displayed by what has been made, but is also intimately shared in a gospel of nature.

Deeply theological review of our habits of relationship with money Eve Poole offers us a book at once deeply theological and imminently practical. She invites us into a conversation about theology—the ways in which we attempt to understand God—and their various implications. She then shifts the conversation to consumerism, raising questions along the way as to how God might view the practice—and how we might better understand our place as Christians within that system. Drawing on the Church’s rich traditions of Social Liturgy, Buying God calls on the Christian community to renew its confidence and strength in proclaiming this good news. Uniting theoretical work on theology, capitalism, and consumerism with a scheme of detailed practical action, the book explores how we can wean ourselves off the material and on to the eternal, through prayer, example, and vibrant social action. “Knowledgeable and accessible, as adept at exploring economics as at delineating theological method, Buying God offers a steady hand through the demands of global capitalism and the seductions of human desire. Eve Poole offers an example of how theology is always politics, and always devotional–and, at its best, both at the same time.” Samuel Wells, Vicar of St Martin-i n- the-Fields.

A groundbreaking account of how the Book of Exodus shaped fundamental aspects of Judaism, Christianity, and Islam The Book of Exodus may be the most consequential story ever told. But its spectacular moments of heaven-sent plagues and parting seas overshadow its true significance, says Jan Assmann, a leading historian of ancient religion. The story of Moses guiding the enslaved children of Israel out of captivity to become God's chosen people is the foundation of an entirely new idea of religion, one that lives on today in many of the world's faiths. First introduced in Exodus, new ideas of faith, revelation, and above all covenant transformed basic assumptions about humankind’s relationship to the divine and became the bedrock of Judaism, Christianity, and Islam.

Modern thought is characterized by a dichotomy of meaningful culture and unmeaning nature. Signs in the Dust uses medieval semiotics to develop a new theory of nature and culture that resists this familiar picture of things. Through readings of Thomas Aquinas, Nicholas of Cusa, and John Poinsot (John of St. Thomas), it offers a semiotic analysis of human culture in both its anthropological breadth as an enterprise of creaturely sign-making, and its theological height as a finite participation in the Trinity, which can be understood as an absolute 'cultural nature'. Signs in the Dust then extends this account of human culture backwards into the natural depth of biological and physical nature. It puts the biosemiotics of its medieval sources, along with Félix Ravaisson's philosophy of habit, into dialogue with the Extended Evolutionary Synthesis that is emerging in contemporary biology, to show how all living things participate in semiosis, so that that a cultural dimension is present through the whole order of nature and the whole of natural history. It also retrieves Aquinas' doctrine of intentions in the medium to show how signification can be attributed in a diminished way to even inanimate nature, with the ontological implication that being as such should be reconceived in semiotic terms. The phenomena of human culture are therefore to be understood not as breaks with a meaningless nature, but instead as heightenings and deepenings of natural movements of meaning that long precede and far exceed us. Against the modern divorce of nature and culture, Signs in the Dust argues that culture is natural and nature is cultural, through and through.

In The Veiled God, Ruth Jackson Ravenscroft offers a detailed portrait of Friedrich Schleiermacher’s early life, ethics, and theology in its historical and social context, and critically reflects on the enduring relevance of his work for the study of religion.