ABSTRACTS - FRIDAY - SESSION 1 (15:15-16:45)
Late Medieval to Counter-Reformation Art (A102)
Aisling Reid, ‘Image Desecration in Late Medieval Italy’
This paper will explore iconoclasm in late medieval Italy. More specifically, it will focus on instances of image ‘eye-gouging’. In Lonigo in 1486 for example, a pair of criminals who had robbed a man and were splitting the spoils of their crime inside a church beneath the ‘gaze’ of a Marian representation, decided to stab at the eye of the image, which miraculously began to bleed. In a similar vein, the Florentine diarist Luca Landucci recalls in his Diario Fiorentino how a Jew ‘went throughout Florence disfiguring images of Our lady [and] scratched they eyes of the [Christ] baby and Saint Onophrius…’. Interestingly, the Jew was punished by having his own eyes gouged out beneath the ‘gaze’ of the statue he had insulted. Using Gellian theory among others, the paper will consider why images’ eyes were often targeted by iconoclasts. It will argue that iconoclasts in general, whether consciously or not, recognized the social agency inherent in all material representations. The paper will further suggest that instances of image ‘eye-gouging’ demonstrate the importance of sight and ‘mutual gazing’ in the interaction of supplicants with iconic religious images.
Alison Harpur, '"Through a Mirror Darkly": The Image of God in the Self-Portraiture of Albrecht Dürer'
Albrecht Dürer's Self-Portrait in the Alte Pinakothek, Munich, painted in 1500 when he was 28 years old, has been widely interpreted as an allusion to the image of Christ. The visual similarity between the artist's representation of himself and the contemporary imagination of the appearance of Christ is founded on the iconographic tradition of images of the Holy Face and textual sources purporting to describe Christ's appearance. Dürer's Self-Portrait stands in the tradition of the imitation of Christ and visualises the imitative relationship between man and God in terms of facial resemblance. Other self-portraits by Dürer visualise the imitation of Christ in a performative manner and present the suffering body as the site of resemblance. In the Munich Self-Portrait, Dürer presents himself not only as a man bearing the image of God, but also as an artist made in the image of the creator God. In this paper I will draw upon Jeremy Begbie's musical, rather than spatial, conceptual framework for understanding the hypostatic union of divine and human natures in Christ, to argue that Dürer's Self-Portrait can be understood as a simultaneous representation of both Dürer and Christ. Rather than being simply a self-portrait of Dürer, or even a self-portrait of Dürer as Christ, I will argue that the Munich Self-Portrait is a portrait of the self in the image of God. The visualisation through facial and bodily resemblance of the image of (the incarnate) God also carries implications for gender and what it might mean to be a woman bearing the image of God. Finally, the oscillation in this self-portrait between the representation of the artist and the image of Christ is interpreted through the lens of an inaugurated eschatology: now the artist observes himself in a mirror; then he will see Christ face to face.
Aisling Reid, ‘Image Desecration in Late Medieval Italy’
This paper will explore iconoclasm in late medieval Italy. More specifically, it will focus on instances of image ‘eye-gouging’. In Lonigo in 1486 for example, a pair of criminals who had robbed a man and were splitting the spoils of their crime inside a church beneath the ‘gaze’ of a Marian representation, decided to stab at the eye of the image, which miraculously began to bleed. In a similar vein, the Florentine diarist Luca Landucci recalls in his Diario Fiorentino how a Jew ‘went throughout Florence disfiguring images of Our lady [and] scratched they eyes of the [Christ] baby and Saint Onophrius…’. Interestingly, the Jew was punished by having his own eyes gouged out beneath the ‘gaze’ of the statue he had insulted. Using Gellian theory among others, the paper will consider why images’ eyes were often targeted by iconoclasts. It will argue that iconoclasts in general, whether consciously or not, recognized the social agency inherent in all material representations. The paper will further suggest that instances of image ‘eye-gouging’ demonstrate the importance of sight and ‘mutual gazing’ in the interaction of supplicants with iconic religious images.
Alison Harpur, '"Through a Mirror Darkly": The Image of God in the Self-Portraiture of Albrecht Dürer'
Albrecht Dürer's Self-Portrait in the Alte Pinakothek, Munich, painted in 1500 when he was 28 years old, has been widely interpreted as an allusion to the image of Christ. The visual similarity between the artist's representation of himself and the contemporary imagination of the appearance of Christ is founded on the iconographic tradition of images of the Holy Face and textual sources purporting to describe Christ's appearance. Dürer's Self-Portrait stands in the tradition of the imitation of Christ and visualises the imitative relationship between man and God in terms of facial resemblance. Other self-portraits by Dürer visualise the imitation of Christ in a performative manner and present the suffering body as the site of resemblance. In the Munich Self-Portrait, Dürer presents himself not only as a man bearing the image of God, but also as an artist made in the image of the creator God. In this paper I will draw upon Jeremy Begbie's musical, rather than spatial, conceptual framework for understanding the hypostatic union of divine and human natures in Christ, to argue that Dürer's Self-Portrait can be understood as a simultaneous representation of both Dürer and Christ. Rather than being simply a self-portrait of Dürer, or even a self-portrait of Dürer as Christ, I will argue that the Munich Self-Portrait is a portrait of the self in the image of God. The visualisation through facial and bodily resemblance of the image of (the incarnate) God also carries implications for gender and what it might mean to be a woman bearing the image of God. Finally, the oscillation in this self-portrait between the representation of the artist and the image of Christ is interpreted through the lens of an inaugurated eschatology: now the artist observes himself in a mirror; then he will see Christ face to face.
Selfhood, Relationality and Imago Dei (A115)
Anthony Floyd, ‘God as Creativity: Gordon Kaufman’s Deconstruction and Reconstruction of God the Father’
Gordon Kaufman’s theology is preoccupied with the importance and implications of symbolism and much of his thought is devoted to decoding and reworking symbols for God which he deems dangerous. Chief amongst such symbols is that of God the Father, standing over creation, redressing humanity’s missteps and gently shepherding us towards an inevitable salvation. Such a view, Kaufman argues, does nothing but enforce a patriarchal status quo that not only oppresses non-Western, non-male and non-human members of creation but also authorises an ever greater and more dangerous domination of nature by humanity. A theology which speaks of a God removed from creation leads to an anthropology which speaks of humanity removed from creation which Kaufman feels threatens the viability of humanity’s long term future on Earth. For this reason Kaufman rejects an understanding of God as a supernatural being with intentions, plans, and both the power and willingness to act in the world. Such an understanding, Kaufman argues, encapsulates the supernatural worldview’s mistaken subscription to the possibility of causal agency from outside of the natural flow of causal processes evident within the universe. As an alternative, he proposes a model of God as Creativity, the sum total of the creative trajectories which give possibilities for life within the universe. This model shies away from positing direct action, revelation or salvation on behalf of God while stressing humanity’s interrelation with its environment. This paper aims examine Kaufman’s deconstruction and reconstruction of the traditional theological notion of God the Father and the resources and problems, for both humanity and theology, generated by an understanding of God as Creativity.
Tsung-I Hwang, ‘The Application of Moltmann’s Interpretation of the Imago Dei to Facing the Tendency of the Behavioural Custom of Masking (the True Self) in the Context of Confucian-influenced Chinese'
My intention in this paper is to apply Moltmann’s interpretation of the imago Dei to facing the tendency of the behavioural custom of masking (the true self) in the context of Confucian-influenced Chinese.
The doctrine of the imago Dei in trinitarian theological anthropology establishes human persons being and becoming in relationship on the basis of the incommensurable trinitarian Persons in relationship and consequently understands humankind as a reciprocating self. In the first part of this paper, I will explore Moltmann’s social doctrine of the Trinity which is based on his interpretation of the imago Dei.
The behavioural custom of masking the true self is a fact accepted with both affirmative and tacit consents by contemporary Chinese persons, adding to the impression of the ‘inscrutable’ Chinese perceived by foreigners. Although the behavioural custom of masking can be found more or less in any people group in the world, it would be enhanced strongly in a Confucian-influenced society. Not a few psychological and sociological studies produced after 1980s have disclosed this tendency. They have described and disclosed it as a product of the relational and social structure and ideology influenced by Confucianism. In the second part of this paper, I will introduce this tendency through my literature review.
Can Moltmann’s interpretation of the imago Dei be applied to facing the tendency of the behavioural custom of masking (the true self) in the context of Confucian-influenced Chinese? This is the question I will answer in the third part of this paper.
Edward Youansamouth, ‘The Divine Body: Blake’s Theology of the Imagination and Sterry’s Cosmic Christology’
This paper will explore the correspondence between Blake’s theology of the imagination and the cosmic Christology of Peter Sterry (1613-1672). It will argue that Blake’s vision of the imagination as the ‘Divine Body of the Lord Jesus’ can be illuminated by the writings of this unduly neglected Platonist divine, who was an associate of John Milton and one-time chaplain to Oliver Cromwell. The similarity between the theological ideas of Blake and Sterry was first noted in 1929, by the literary-critic Vivian de Sola Pinto, but has received no subsequent critical attention. The three central points of affinity between Blake and Sterry on the body of Christ are: the divine body as the only universal Form, comprehending the eternal forms of all things; the divine body as a heavenly community, fully present in each of its individual members; and the coincidence of universals and particulars in Christ. By examining two key texts, the first from Blake’s 'A Vision of the Last Judgment' and the second from one of Sterry’s private letters, this paper will illustrate these points of contact, indicating their significance for our understanding of Blake’s doctrine of the imagination. The strategy adopted will be to use Sterry’s statement on the body of Christ as a heuristic device, through which to view Blake’s verbal and visual art, revealing how Blake conceives of the divine body as the all-encompassing reality, in which ‘we live, and move, and have our being’. This heavenly body is no abstract unity above division, the transcendent One beyond being, but the vital coincidence of opposites, in which all times and places are gathered into one infinite and eternal point (or circumference), and where all particulars exist in universals and universals in particulars.
Anthony Floyd, ‘God as Creativity: Gordon Kaufman’s Deconstruction and Reconstruction of God the Father’
Gordon Kaufman’s theology is preoccupied with the importance and implications of symbolism and much of his thought is devoted to decoding and reworking symbols for God which he deems dangerous. Chief amongst such symbols is that of God the Father, standing over creation, redressing humanity’s missteps and gently shepherding us towards an inevitable salvation. Such a view, Kaufman argues, does nothing but enforce a patriarchal status quo that not only oppresses non-Western, non-male and non-human members of creation but also authorises an ever greater and more dangerous domination of nature by humanity. A theology which speaks of a God removed from creation leads to an anthropology which speaks of humanity removed from creation which Kaufman feels threatens the viability of humanity’s long term future on Earth. For this reason Kaufman rejects an understanding of God as a supernatural being with intentions, plans, and both the power and willingness to act in the world. Such an understanding, Kaufman argues, encapsulates the supernatural worldview’s mistaken subscription to the possibility of causal agency from outside of the natural flow of causal processes evident within the universe. As an alternative, he proposes a model of God as Creativity, the sum total of the creative trajectories which give possibilities for life within the universe. This model shies away from positing direct action, revelation or salvation on behalf of God while stressing humanity’s interrelation with its environment. This paper aims examine Kaufman’s deconstruction and reconstruction of the traditional theological notion of God the Father and the resources and problems, for both humanity and theology, generated by an understanding of God as Creativity.
Tsung-I Hwang, ‘The Application of Moltmann’s Interpretation of the Imago Dei to Facing the Tendency of the Behavioural Custom of Masking (the True Self) in the Context of Confucian-influenced Chinese'
My intention in this paper is to apply Moltmann’s interpretation of the imago Dei to facing the tendency of the behavioural custom of masking (the true self) in the context of Confucian-influenced Chinese.
The doctrine of the imago Dei in trinitarian theological anthropology establishes human persons being and becoming in relationship on the basis of the incommensurable trinitarian Persons in relationship and consequently understands humankind as a reciprocating self. In the first part of this paper, I will explore Moltmann’s social doctrine of the Trinity which is based on his interpretation of the imago Dei.
The behavioural custom of masking the true self is a fact accepted with both affirmative and tacit consents by contemporary Chinese persons, adding to the impression of the ‘inscrutable’ Chinese perceived by foreigners. Although the behavioural custom of masking can be found more or less in any people group in the world, it would be enhanced strongly in a Confucian-influenced society. Not a few psychological and sociological studies produced after 1980s have disclosed this tendency. They have described and disclosed it as a product of the relational and social structure and ideology influenced by Confucianism. In the second part of this paper, I will introduce this tendency through my literature review.
Can Moltmann’s interpretation of the imago Dei be applied to facing the tendency of the behavioural custom of masking (the true self) in the context of Confucian-influenced Chinese? This is the question I will answer in the third part of this paper.
Edward Youansamouth, ‘The Divine Body: Blake’s Theology of the Imagination and Sterry’s Cosmic Christology’
This paper will explore the correspondence between Blake’s theology of the imagination and the cosmic Christology of Peter Sterry (1613-1672). It will argue that Blake’s vision of the imagination as the ‘Divine Body of the Lord Jesus’ can be illuminated by the writings of this unduly neglected Platonist divine, who was an associate of John Milton and one-time chaplain to Oliver Cromwell. The similarity between the theological ideas of Blake and Sterry was first noted in 1929, by the literary-critic Vivian de Sola Pinto, but has received no subsequent critical attention. The three central points of affinity between Blake and Sterry on the body of Christ are: the divine body as the only universal Form, comprehending the eternal forms of all things; the divine body as a heavenly community, fully present in each of its individual members; and the coincidence of universals and particulars in Christ. By examining two key texts, the first from Blake’s 'A Vision of the Last Judgment' and the second from one of Sterry’s private letters, this paper will illustrate these points of contact, indicating their significance for our understanding of Blake’s doctrine of the imagination. The strategy adopted will be to use Sterry’s statement on the body of Christ as a heuristic device, through which to view Blake’s verbal and visual art, revealing how Blake conceives of the divine body as the all-encompassing reality, in which ‘we live, and move, and have our being’. This heavenly body is no abstract unity above division, the transcendent One beyond being, but the vital coincidence of opposites, in which all times and places are gathered into one infinite and eternal point (or circumference), and where all particulars exist in universals and universals in particulars.
Images of the Church and Visual Portrayals of the Body of Christ (A214)
Mark Dawson, ‘Image of the Kingdom? The Practice of Fair Trade as an Act of Symbolic Witness’
Fair Trade, established by churches and motivated and guided by theology, presents a clear opportunity for the church to demonstrate the application of Christian principles of justice to wider society. This paper will present a threefold role for church action on Fair Trade: to actualise change towards a more just society, to act as symbolic alternative to mainstream trade and to serve as an image of the Kingdom of God; embodying the values of the Kingdom, pointing towards the future consummation and denouncing the idolatry of consumer society. The concept of ‘Imago Dei’ is pertinent to this threefold role, not only in the sense of respect for all humankind by virtue of their divine potential, but also as motivation to act in a Godly manner, to work towards the embodiment of Godly values in the trade system and to point to the Kingdom as the fulfilment of the conditions of acting in the image of God. I will go on to discuss potential problems with the threefold model, referring not only to theoretical objections, but to the experience of Fair Trade in practice and to the views of the churchgoers in my study. I will discuss how the understanding of Fair Trade as symbolic witness has influenced Fair Trade practice and decision making. Fair Trade is currently a movement in flux and new developments present challenges to this role of symbolic witness and to the theological underpinning of Fair Trade. Holding this in mind, the paper will conclude with an assessment of how useful the threefold model is as a way of understanding church action on Fair Trade.
Tereska Lynam, ‘What Would Jesus Do? (“WWJD™): Christ in a Commercialised Temple’
Since the 1970s, the “Christian-products” marketplace has exploded in the US, a trend increasingly mimicked in the UK. According to Christian Retailing, commercialized Christianity is now worth $4.6 billion annually, with products including books, music, movies, jewelry, bumper-stickers, and even lip gloss. “Christian” programming dominates the airwaves in the United States providing immense profits to billionaire moguls such as Rupert Murdoch, who currently owns 50% of the Christian publishing market and many of the television and radio stations that claim to be “Christian” in nature, and Rev Pat Robertson, whose PTL (“Praise the Lord”) and 700 Club channels have made him one of the richest men in America.
As the commercial realm falls under secular laws and not ecclesiastical dictums, the Church has little control over such commoditization. Nonetheless, “Christian” merchandising and media powerfully affect the reputation and “brand image” of Christianity as an abstract concept and the Church as a whole. Negative effects include a dramatic drop in church attendance and increasing polarization within the Church, as well as the wider political environment. Somewhat ironically, new studies show that megachurches – commonly regarded as leading the commercialization process – see the lowest levels of individual donations and community involvement within the wider Church.
This paper will analyze the growth of “Christian” commercialism; discuss the inherent totalizing process of marketing campaigns and their affect on religious understanding; and show how frustrated Christians are combating “brand erosion” and reclaiming their faith.
Mark Dawson, ‘Image of the Kingdom? The Practice of Fair Trade as an Act of Symbolic Witness’
Fair Trade, established by churches and motivated and guided by theology, presents a clear opportunity for the church to demonstrate the application of Christian principles of justice to wider society. This paper will present a threefold role for church action on Fair Trade: to actualise change towards a more just society, to act as symbolic alternative to mainstream trade and to serve as an image of the Kingdom of God; embodying the values of the Kingdom, pointing towards the future consummation and denouncing the idolatry of consumer society. The concept of ‘Imago Dei’ is pertinent to this threefold role, not only in the sense of respect for all humankind by virtue of their divine potential, but also as motivation to act in a Godly manner, to work towards the embodiment of Godly values in the trade system and to point to the Kingdom as the fulfilment of the conditions of acting in the image of God. I will go on to discuss potential problems with the threefold model, referring not only to theoretical objections, but to the experience of Fair Trade in practice and to the views of the churchgoers in my study. I will discuss how the understanding of Fair Trade as symbolic witness has influenced Fair Trade practice and decision making. Fair Trade is currently a movement in flux and new developments present challenges to this role of symbolic witness and to the theological underpinning of Fair Trade. Holding this in mind, the paper will conclude with an assessment of how useful the threefold model is as a way of understanding church action on Fair Trade.
Tereska Lynam, ‘What Would Jesus Do? (“WWJD™): Christ in a Commercialised Temple’
Since the 1970s, the “Christian-products” marketplace has exploded in the US, a trend increasingly mimicked in the UK. According to Christian Retailing, commercialized Christianity is now worth $4.6 billion annually, with products including books, music, movies, jewelry, bumper-stickers, and even lip gloss. “Christian” programming dominates the airwaves in the United States providing immense profits to billionaire moguls such as Rupert Murdoch, who currently owns 50% of the Christian publishing market and many of the television and radio stations that claim to be “Christian” in nature, and Rev Pat Robertson, whose PTL (“Praise the Lord”) and 700 Club channels have made him one of the richest men in America.
As the commercial realm falls under secular laws and not ecclesiastical dictums, the Church has little control over such commoditization. Nonetheless, “Christian” merchandising and media powerfully affect the reputation and “brand image” of Christianity as an abstract concept and the Church as a whole. Negative effects include a dramatic drop in church attendance and increasing polarization within the Church, as well as the wider political environment. Somewhat ironically, new studies show that megachurches – commonly regarded as leading the commercialization process – see the lowest levels of individual donations and community involvement within the wider Church.
This paper will analyze the growth of “Christian” commercialism; discuss the inherent totalizing process of marketing campaigns and their affect on religious understanding; and show how frustrated Christians are combating “brand erosion” and reclaiming their faith.
Egyptology (Manchester Museum)
There is also a museum workshop as part of this session; for more information and to book a place (limited availability), please click here.
There is also a museum workshop as part of this session; for more information and to book a place (limited availability), please click here.
Abstracts - Friday - Session 2 (17:00-18:00)
Modern and Contemporary Art (A102)
Carol Marples, ‘'Daughters at the Last Supper': Three Feminist Interpretations’
My intention in this paper is to explore three visually diverse, feminist artistic expressions of the Last Supper. The first, Mary Beth Edelson’s collage poster Some Living American Women Artists/Last Supper (1972), which was widely reproduced and circulated in many feminist organisations and publications; secondly, Judy Chicago’s installation The Dinner Party (1974-1979), that for some is a re-imagining in of the Last Supper; and thirdly Jamaican born Renee Cox’s Yo Mama's Last Supper (1999). The paper will ask why each of these artists, from both sacred and secular backgrounds, felt the need to create these potentially very powerful, challenging, and in some eyes, controversial feminine depictions of an already much explored predominantly male image of Christian iconography within the western art world.
The changing contexts since the 1960s of both the western art world and that of Christian culture will provide the background context to these artworks. Particular parallels will be drawn from the development and nature of feminist theology and liturgy.
Bob Gaunt, ‘Saints and Scousers: Pope John XXIII and Arthur Dooley’
In this paper I show the influences of Communism and Catholic social teaching on the ecclesial sculpture of Arthur Dooley. Dooley emerged as popular sculptor in the early 1960's and was involved with Terry Eagleton and the Slant Group of radical left wing Catholic theologians who worked to engage the Church more practically with everyday life in the spirit of Pope John Paul XXIII's Second Vatican Council, and Marxist inspired political action. These influences are seen in his Stations of the Cross (1962-64), Dachau Christ (and Resurrection of Christ) 1969.
I make connections between Dooley's social realist art, i.e. art that helps people to claim their social rights; and the Catholic Church's turn to all men of goodwill to work towards peace on earth through social justice, under Pope John XXIII.
Carol Marples, ‘'Daughters at the Last Supper': Three Feminist Interpretations’
My intention in this paper is to explore three visually diverse, feminist artistic expressions of the Last Supper. The first, Mary Beth Edelson’s collage poster Some Living American Women Artists/Last Supper (1972), which was widely reproduced and circulated in many feminist organisations and publications; secondly, Judy Chicago’s installation The Dinner Party (1974-1979), that for some is a re-imagining in of the Last Supper; and thirdly Jamaican born Renee Cox’s Yo Mama's Last Supper (1999). The paper will ask why each of these artists, from both sacred and secular backgrounds, felt the need to create these potentially very powerful, challenging, and in some eyes, controversial feminine depictions of an already much explored predominantly male image of Christian iconography within the western art world.
The changing contexts since the 1960s of both the western art world and that of Christian culture will provide the background context to these artworks. Particular parallels will be drawn from the development and nature of feminist theology and liturgy.
Bob Gaunt, ‘Saints and Scousers: Pope John XXIII and Arthur Dooley’
In this paper I show the influences of Communism and Catholic social teaching on the ecclesial sculpture of Arthur Dooley. Dooley emerged as popular sculptor in the early 1960's and was involved with Terry Eagleton and the Slant Group of radical left wing Catholic theologians who worked to engage the Church more practically with everyday life in the spirit of Pope John Paul XXIII's Second Vatican Council, and Marxist inspired political action. These influences are seen in his Stations of the Cross (1962-64), Dachau Christ (and Resurrection of Christ) 1969.
I make connections between Dooley's social realist art, i.e. art that helps people to claim their social rights; and the Catholic Church's turn to all men of goodwill to work towards peace on earth through social justice, under Pope John XXIII.
Human Nature in the Image of God (A115)
S. Y. Celine Yeung, ‘Royal Heirs and Heiresses - The Implications of a “Royal” Interpretation of the Imago Dei’
This paper explores the royal interpretation of the imago Dei, i.e., the claim that the image of God imparts royal identity to each human person created in that image. This interpretation will be developed in particular by exploring the theological significance of the predication of ‘royalty’ to human beings qua creatures—as ‘royal children’—and not merely in virtue of a later act of adoption as such by God salvation in Christ. Three themes are then traced. First, we examine the soteriological significance of understanding Christ's salvation as the restoration of humanity’s status as royal children of God. Second, we consider how the concept of the royalty of the human person might avoid ethical legalism by placing the concept of ‘duty’ within the discourse of the privilege of responsible persons. Third, we explore the hermeneutical gains that follow from such an understanding of the imago Dei for interpreting a range of closely related themes in both the Old and New Testaments, particularly the idea of human participation in the Kingdom or Reign of God, as ‘heirs’ to the ‘Crown of Life’.
Christiane Alpers, ‘The Mysteriousness of the Divine Image: An Occasion for Praise?’
In Kathryn Tanner’s contribution to the nature-grace discussion, human nature images the divine only negatively to then develop into a positive divine image during a process in which one is continuously filled with God’s grace. The problem in discussions about grace is that accounts tend to either undermine the gratuity of grace or otherwise elevate grace to such a level that it becomes superfluous for human life. Tanner claims to propose a better solution to the problem than 20th century Catholic theology. In my paper, I seek to test her claim by comparison to Edward Schillebeeckx as a proponent of 20th century Catholic theology with whom Tanner does not herself engage. My claim is that Tanner’s negative construal of human nature is paradoxically too cataphatic, whereas Schillebeeckx’s emphasis on the positivity of the gift of human nature as such leaves more room for mystery.
To this end, I first briefly introduce Tanner’s theological anthropology in which human nature is nothing of itself and entirely created for a relationship with God. Secondly, it is shown that Schillebeeckx similarly focuses on the divine-human relationship as the ultimate fulfilment of human nature, but that one can nevertheless distinguish three positive gifts in his theology: The gift of humankind to Creation, the gift of Creation to humankind, and the gratuitous gift of an interpersonal relationship with God. Thirdly, I approach the question of the gratuity of grace by way of considering the praiseworthiness of God in Tanner’s and Schillebeeckx’s respective conceptions. This will show that humankind being made in the image of God does not mean, as feared by Tanner, that human nature is self-sufficient, but it can be understood as an expression of thankfulness to a mysterious God for our own mysterious being.
S. Y. Celine Yeung, ‘Royal Heirs and Heiresses - The Implications of a “Royal” Interpretation of the Imago Dei’
This paper explores the royal interpretation of the imago Dei, i.e., the claim that the image of God imparts royal identity to each human person created in that image. This interpretation will be developed in particular by exploring the theological significance of the predication of ‘royalty’ to human beings qua creatures—as ‘royal children’—and not merely in virtue of a later act of adoption as such by God salvation in Christ. Three themes are then traced. First, we examine the soteriological significance of understanding Christ's salvation as the restoration of humanity’s status as royal children of God. Second, we consider how the concept of the royalty of the human person might avoid ethical legalism by placing the concept of ‘duty’ within the discourse of the privilege of responsible persons. Third, we explore the hermeneutical gains that follow from such an understanding of the imago Dei for interpreting a range of closely related themes in both the Old and New Testaments, particularly the idea of human participation in the Kingdom or Reign of God, as ‘heirs’ to the ‘Crown of Life’.
Christiane Alpers, ‘The Mysteriousness of the Divine Image: An Occasion for Praise?’
In Kathryn Tanner’s contribution to the nature-grace discussion, human nature images the divine only negatively to then develop into a positive divine image during a process in which one is continuously filled with God’s grace. The problem in discussions about grace is that accounts tend to either undermine the gratuity of grace or otherwise elevate grace to such a level that it becomes superfluous for human life. Tanner claims to propose a better solution to the problem than 20th century Catholic theology. In my paper, I seek to test her claim by comparison to Edward Schillebeeckx as a proponent of 20th century Catholic theology with whom Tanner does not herself engage. My claim is that Tanner’s negative construal of human nature is paradoxically too cataphatic, whereas Schillebeeckx’s emphasis on the positivity of the gift of human nature as such leaves more room for mystery.
To this end, I first briefly introduce Tanner’s theological anthropology in which human nature is nothing of itself and entirely created for a relationship with God. Secondly, it is shown that Schillebeeckx similarly focuses on the divine-human relationship as the ultimate fulfilment of human nature, but that one can nevertheless distinguish three positive gifts in his theology: The gift of humankind to Creation, the gift of Creation to humankind, and the gratuitous gift of an interpersonal relationship with God. Thirdly, I approach the question of the gratuity of grace by way of considering the praiseworthiness of God in Tanner’s and Schillebeeckx’s respective conceptions. This will show that humankind being made in the image of God does not mean, as feared by Tanner, that human nature is self-sufficient, but it can be understood as an expression of thankfulness to a mysterious God for our own mysterious being.
Philosophy, Theology and Idols (A214)
Philip Whitehead, ‘Is an Idol Anything? Learning from Paul’s Argument in 1 Corinthians 8 and 10’
Idols, and the ritual practices surrounding them, were an everyday issue for Paul’s converts in Corinth. Theological concerns regarding idols were not merely theoretical, but affected diet, commerce, and social interaction. Paul’s nuanced argument in 1 Corinthians regarding idols and associated Greek religious practices does not contradict the assertion that “an idol is nothing”, yet urges Christians to flee from these idols, for the sake of the “weaker brother” and because idolatry involves participation with demons.
The “weaker brother” argument seems to have been a significant feature in the development of the church in the first-century, and is deployed by Paul and others in relation to idols and associated practices. The non-individualistic logic of this argument demonstrates the inadequacy of individualist or rights-based accounts of the propriety, or otherwise, of idols and iconography in Christian practice, and points the student of Paul towards the necessity for an ecclesial approach to the issue.
Paul’s focus on the demonic is, perhaps, more troubling to modern ears. Paul’s argument here is more readily understandable in the light of recent renewed appreciation of the significance of “participation” or “union” in Pauline theology. “Participation” is a key concept for Paul’s account of salvation, the church, and eschatology, and can be said to denote the way in which a Christian is connected with Christ and receives or enjoys Christ’s benefits. In this connection Paul’s statements in 1 Corinthians regarding demons express both a warning against spiritual danger from demonic agents, and a concern for exclusive commitment to Christ among his converts in their practice as well as in their hearts.
Petre Maican, ‘The Sacredness of Idols’
Classical Christian theology applies the term idol to all the visual representations of God, belonging to other religions. The term distinguishes between icons or any other images used in Christian worship and Non-Christian depictions, claiming the former are just the products of human imagination and void of any sacred presence. This approach raises a series of difficulties for the modern world engaged in inter-faith dialogue, and recent theologians like Paul Tillich have challenged it. Tillich calls all these visual representations symbols and considers they are participating in the reality they point to, namely God. Nevertheless, this unifying statement bringing together Christian and non-Christian images has attracted a fair amount of criticism, despite all the attempts Tillich made to defend it. It is my intention in the present paper to examine how Tillich changes the classical perspective on idols with his notion of symbol, and how he tries to bring Christianity into dialogue with other religions, through the mediation of visual imagery. The analysis will highlight the most criticised aspects of Tillich’s theory of symbol and will seek to show how these weak points can be strengthened by the complementary input of the Eastern Orthodox theology of icons, best illustrated in the work of Romanian theologian Dumitru Stăniloae. The purpose of this argument is twofold: it aims, on the one hand, to be a piece of constructive theology, recovering the Tillichian concept of symbol through inter-denominational dialogue, while on the other hand reassessing the notion of idol and transforming it into a bridge between Christianity and non-Abrahamic religions.
Philip Whitehead, ‘Is an Idol Anything? Learning from Paul’s Argument in 1 Corinthians 8 and 10’
Idols, and the ritual practices surrounding them, were an everyday issue for Paul’s converts in Corinth. Theological concerns regarding idols were not merely theoretical, but affected diet, commerce, and social interaction. Paul’s nuanced argument in 1 Corinthians regarding idols and associated Greek religious practices does not contradict the assertion that “an idol is nothing”, yet urges Christians to flee from these idols, for the sake of the “weaker brother” and because idolatry involves participation with demons.
The “weaker brother” argument seems to have been a significant feature in the development of the church in the first-century, and is deployed by Paul and others in relation to idols and associated practices. The non-individualistic logic of this argument demonstrates the inadequacy of individualist or rights-based accounts of the propriety, or otherwise, of idols and iconography in Christian practice, and points the student of Paul towards the necessity for an ecclesial approach to the issue.
Paul’s focus on the demonic is, perhaps, more troubling to modern ears. Paul’s argument here is more readily understandable in the light of recent renewed appreciation of the significance of “participation” or “union” in Pauline theology. “Participation” is a key concept for Paul’s account of salvation, the church, and eschatology, and can be said to denote the way in which a Christian is connected with Christ and receives or enjoys Christ’s benefits. In this connection Paul’s statements in 1 Corinthians regarding demons express both a warning against spiritual danger from demonic agents, and a concern for exclusive commitment to Christ among his converts in their practice as well as in their hearts.
Petre Maican, ‘The Sacredness of Idols’
Classical Christian theology applies the term idol to all the visual representations of God, belonging to other religions. The term distinguishes between icons or any other images used in Christian worship and Non-Christian depictions, claiming the former are just the products of human imagination and void of any sacred presence. This approach raises a series of difficulties for the modern world engaged in inter-faith dialogue, and recent theologians like Paul Tillich have challenged it. Tillich calls all these visual representations symbols and considers they are participating in the reality they point to, namely God. Nevertheless, this unifying statement bringing together Christian and non-Christian images has attracted a fair amount of criticism, despite all the attempts Tillich made to defend it. It is my intention in the present paper to examine how Tillich changes the classical perspective on idols with his notion of symbol, and how he tries to bring Christianity into dialogue with other religions, through the mediation of visual imagery. The analysis will highlight the most criticised aspects of Tillich’s theory of symbol and will seek to show how these weak points can be strengthened by the complementary input of the Eastern Orthodox theology of icons, best illustrated in the work of Romanian theologian Dumitru Stăniloae. The purpose of this argument is twofold: it aims, on the one hand, to be a piece of constructive theology, recovering the Tillichian concept of symbol through inter-denominational dialogue, while on the other hand reassessing the notion of idol and transforming it into a bridge between Christianity and non-Abrahamic religions.
