Time And Eternity

This remarkable work offers an analytical exploration of the nature of divine eternity and God's relationship to time.

According to Robert John Russell, one of the foremost scholars on relating Christian theology and science, the topic of “time and eternity” is central to the relation between God and the world in two ways. First, it involves the notion of the divine eternity as the supratemporal source of creaturely time. Second, it involves the eternity of the eschatological New Creation beginning with the bodily Resurrection of Jesus in relation to creaturely time. The key to Russell's engagement with these issues, and the purpose of this book, is to explore Wolfhart Pannenberg’s treatment of time and eternity in relation to mathematics, physics, and cosmology. Time in Eternity is the first book-length exposition of Russell’s unique method for relating Christian theology and the natural sciences, which he calls “creative mutual interaction” (CMI). This method first calls for a reformulation of theology in light of science and then for the delineation of possible topics for research in science drawing on this reformulated theology. Accordingly, Russell first reformulates Pannenberg’s discussion of the divine attributes—eternity and omnipresence—in light of the way time and space are treated in mathematics, physics, and cosmology. This leads him to construct a correlation of eternity and omnipresence in light of the spacetime framework of Einstein’s special relativity. In the process he proposes a new flowing time interpretation of relativity to counter the usual block universe interpretation supported by most physicists and philosophers of science. Russell also replaces Pannenberg’s use of Hegel’s concept of infinity in relation to the divine attributes with the concept of infinity drawn from the mathematics of Georg Cantor. Russell then addresses the enormous challenge raised by Big Bang cosmology to Christian eschatology. In response, he draws on Pannenberg’s interpretation both of the Resurrection as a proleptic manifestation of the eschatological New Creation within history and the present as the arrival of the future. Russell shows how such a reformulated understanding of theology can shed light on possible directions for fundamental research in physics and cosmology. These lead him to explore preconditions in contemporary physics research for the possibility of duration, copresence, retroactive causality, and prolepsis in nature.

2011 Christy Award finalist! All Camilla Deardon knows of the Mormons camping nearby is the songs she hears floating on the breeze. Then she meets one of them—a young man named Nathan Fox. Never did she imagine he would be so handsome, so charming, especially after Mama and Papa’s warnings to stay away. Though she knows she should obey her parents, Camilla can’t refuse her heart. But even Nathan’s promises cannot prepare her for what she will face in Utah.

Brian Leftow makes an important contribution to the longstanding debate among philosophers and theologians about the nature of God's eternity. The author develops a powerful and original defense of the notion that God is eternal in that he exists timelessly; that is, that though God exists, he does not exist at any time. Leftow defends the claim that a timeless God can be an object of human experience, and he attempts to delineate the extent of such a God's omniscience. Finally, the author pays special attention to the relation between the claim that God is timeless and the claim that God is metaphysically simple.

These thirty-two papers from the 7th International Medieval Congress held in Leeds in 2000, wrestle with the complex and difficult subject of time and eternity in the medieval period. They reflect different scholarly approaches to the subject and reveal a variety of medieval concepts of time and its function. The papers are arranged according to seven themes: Time, its computation and the use of calendars; Jewish concepts of time and redemption; Christian philosophies of eternity and time; Monastic and clerical conceptions; Literary representations; Time and art; The end of the world.

In this highly original and ground-breaking work, the author brings together discussions in the philosophy of time and space, philosophy of language, phenomenology, philosophy of science, Special and General Relativity, classical cosmology, quantum mechanics, and so forth, with the concerns of philosophy of religion and theology, in order to craft a philosophically informed and scientifically tenable doctrine of divine eternity and God's relationship to time.

One of the vital issues in contemporary Christian theology is the problem of a renewed understanding of God's eternity and its relation to time. This is not merely a peripheral doctrinal issue, but lies at the heart of our understanding of God and humanity, and contributes to our entire worldview. This study focuses on a long-standing debate between two competing views on God's eternity: one focused on God's absolute timelessness in classical theism, and the other on God's temporal everlastingness in contemporary panentheism. In contrast to both of these well-worn options, this book presents an alternative Trinitarian analogical understanding of God's eternity and its relation to time, especially through a critical reflection on Karl Barth's and Hans Urs von Balthasar's engagement of the issue. This analogical approach, based on the dynamic and dramatic concepts of God's being-in-relation and of the Triune God's communicative action in eternity and time, has the potential to resolve the debate between absolute timeless eternity and temporal everlasting duration.

Icons in Time, Persons in Eternity presents a critical, interdisciplinary examination of contemporary theological and philosophical studies of the Christian image and redefines this within the Orthodox tradition by exploring the ontological and aesthetic implications of Orthodox ascetic and mystical theology. It finds Modernist interest in the aesthetic peculiarity of icons significant, and essential for re-evaluating their relationship to non-representational art. Drawing on classical Greek art criticism, Byzantine ekphraseis and hymnography, and the theologies of St. Maximus the Confessor, St. Symeon the New Theologian and St. Gregory Palamas, the author argues that the ancient Greek concept of enargeia best conveys the expression of theophany and theosis in art. The qualities that define enargeia - inherent liveliness, expressive autonomy and self-subsisting form - are identified in exemplary Greek and Russian icons and considered in the context of the hesychastic theology that lies at the heart of Orthodox Christianity. An Orthodox aesthetics is thus outlined that recognizes the transcendent being of art and is open to dialogue with diverse pictorial and iconographic traditions. An examination of Ch’an (Zen) art theory and a comparison of icons with paintings by Wassily Kandinsky, Pablo Picasso, Mark Rothko and Marc Chagall, and by Japanese artists influenced by Zen Buddhism, reveal intriguing points of convergence and difference. The reader will find in these pages reasons to reconcile Modernism with the Christian image and Orthodox tradition with creative form in art.