Unfinished Man And The Imagination

Unfinished Man and the Imagination is a ground-breaking foundational work in theological anthropology that was first published in 1968. Ray Hart is a highly original thinker who, using theological and philosophical categories in imaginative ways, provides a theological account of human being that may serve as the basis for an ontology of revelation.

In this comprehensive study, a renowned theologian examines the anthropological disciplines-human biology, psychology, cultural anthropology, sociology and history-for their religious implications. The result is a theological anthropology that does not derive from dogma or prejudice, but critically evaluates the findings of the disciplines. Pannenberg begins with a consideration of human beings as part of nature; moves on to focus on the human person; and then considers the social world: its culture, history and institutions. All the elements of this multi-faceted study unite in the final chapter on the relation of human beings to their history.

This is the first volume of Robert Cumming Neville's magnum opus, Theology as Symbolic Engagement. Neville is the premier American systematic theologian of our time. His work is profoundly influenced by Paul Tillich, Friedrich Schleiermacher, and the American pragmatists John Dewey and Charles Sanders Pierce. From Tillich he takes the notion of religion, art, and morality as symbol, and the notion that religion is the substance of culture and culture the form of religion. Thus, theology is symbolic engagement with cultural forms, and Neville explores the ways that such engagement occurs among various religious traditions. One of the most important tasks in theology is to devise ways of testing, correcting, or affirming claims that we had been unable to question before. This book will argue that "system" in theology is not merely correlating assertions, but rather building perspectives from which we can render the various parts of theology vulnerable for assessment. In fact, one of the unique features of this book is its engagement with other religions. Such dialogue has been a feature of Neville's work from the beginning. Theology as Symbolic Engagement breaks the boundaries of systematic theology and moves away from the static character that characterizes such enterprises from Barth onward. Instead, Neville's book showcases the dynamic character of all theology. The hallmark of this entire project is its effort to show theology to be hypothetical and to make it vulnerable to correction.

Ernst Troeltsch and Comparative Theology examines the methodological attempts of Ernst Troeltsch and Robert Neville for discerning Christian normativity. The investigation of Troeltsch focuses on his treatment of the absoluteness of Christianity and highlights the crisis brought upon absolute religious claims by the study of the history of religions. By rejecting both the supernatural-exclusive apologetic of orthodox Protestantism and the evolutionary apologetic of liberal Protestantism, Troeltsch insists that theology's method should be the history of religions' method (die religionsgeschichtliche Methode). Like Troeltsch, Neville agrees with historical inquiries, but, contrary to Troeltsch, Neville advances an axiological hypothesis to thinking, which is founded in valuation. Neville explains the role of valuation at the imaginative level of thinking and relates it to his theory of normative truth in religious symbols. This study shows that Neville begins with Troeltsch's methodological presuppositions but achieves more normative theology than Troeltsch, especially on ways in which God is engaged in symbolically shaped thinking and practice. Both thinkers offer creative insights for theology that make possible a critical comparison of truth claims regarding the validity of Christianity in and for a historically conscious age.

One of the most influential voices in contemporary theology delivers “a deeply original, meticulously written” new approach to the way we think about God (Jack Miles, author of God: A Biography). In this long-awaited work, Ray L. Hart offers a radical speculative theology that profoundly challenges classical understandings of the divine. God Being Nothing contests the conclusions of numerous orthodoxies through a probing question: How can thinking of God reach closure when the subjects of creation are themselves unfinished, when God’s self-revelation in history is ongoing, and when the active manifestation of God is still occurring? A renowned theologist and author of the landmark text Unfinished Man and the Imagination, Ray L. Hart now asks us to imagine God perpetually in process: an unfinished God being self-created from nothingness. Breaking away from the traditional focus on divine persons, Hart reimagines the Trinity in terms of theogony, cosmogony, and anthropogony in order to reveal an ever-emerging Godhead who encompasses all of temporal creation and, within it, human existence. In Hart’s stunning vision, God’s continual generation from nothing manifests the full actualization of freedom: the freedom to create ex nihilo.

For most of history, argues John Dillenberger, the visual arts were, for better or worse, part of the very fabric of the life and thought of the church. But with the Reformation and the Counter-Reformation a major change took place. Protestant rejection of the visual was matched in Roman Catholicism by the reduction of its formative power. While the visual arts dropped out of the lives of Protestant churches, they became a memory rather than a source of ennoblement or power in the Roman Catholic Church. Thus, in different but allied ways, Protestants and Catholics lost the power of the visual. Part art history, part historical theology, and part theological reflection, this book is both an argument and a program for the recovery of the visual arts in the life of the church, for reclaiming seeing as part of religious perception. It offers a theological understanding of the visual and provides a basis upon which the visual arts may again be incorporated into Protestantism and reinvigorated in Roman Catholicism. The first part is devoted to historical reconstruction, exploring those moments in Western history in which the relation between religion and the arts was in ferment. Part 2 is given to contemporary delineation and analysis: of spiritual perceptions in modern American painting and sculpture, of modern church art and architecture, and of the changing views of contemporary theologians toward the visual arts. Citing David Tracy, Karl Rahner, Langdon Gilkey, and others as examples, Dillenberger argues that contemporary theology is moving away from the modern rationalistic understanding of theological analogy to one far closer to the arts. Part 3 is constructive, developing a theological perspective that demands and includes the visual arts, and suggesting ways in which this can be accomplished in pastoral and theological education. The world of art, says Professor Dillenberger, is more aware of the role of religion in the arts than the world of religion is of art. Thus it is time for the church to resume its historic association with the visual arts, albeit in analogous rather than repristinating ways.

Sense of the Possible is for those interested in learning about the intersection of Christian theology and imagination. Written from the assumption that imagination is deeply connected to the Christian work for liberation and human flourishing, this book is an energizing introduction to the ways in which theologians have thought about the powerful human capacity to envision a future that has not yet come. Containing perspectives from scripture, theology, philosophy, and congregational studies, this text is an excellent way to explore how it is that imagination can be part of a faithful Christian life. Each chapter comes with recommended readings and discussion questions that can be used in churches or classrooms.

By examining Samuel Taylor Coleridge's and John Henry Newman's parallel approaches to the central question of Christian apologetics - the existence of God - Coleridge and Newman: The Centrality of Conscience documents more fully than ever before the extent of Coleridge's influence on Newman. Both men sought to develop an argument for God's existence by understanding conscience as the moral self-awareness that makes us human. The study provides fresh readings of three texts by Colerdige and three by Newman. The result of these comparative readings is a rhetoric that both informs and invites the reader to personal reflection.