Kilby isn’t content to say that some social theories of the Trinity may project human ideals onto God. She says it’s inherent in the whole effort to tease out a social model of the Trinity. Her argument moves in several stages: First, we don’t have much of any information about . . . . Continue Reading »
In a 2007 New Blackfriars piece on perichoresis and social Trinitarianism, Karen Kilby suggests that social theories of the Trinity necessarily project current ideals onto God. She cites the work of Patricia Wilson-Kastner to support the “suspicion of projection.” She observes that . . . . Continue Reading »
In the Bible, bones are not merely structural features of the human person. Shattered (Psalm 42:10) or scattered (Psalm 53:5) bones are signs of defeat. When bones are scattered at the edge of Sheol, an army has been massacred (Psalm 141:7). Bones can waste away (Psalm 31:10), be out of joint . . . . Continue Reading »
In yesterday’s post about Isaiah 58 , I failed to take into account several other uses of nephesh in the chapter, which are needed to get a full grasp of what the chapter is doing. Nephesh first appears in verse 3, in Israel’s complaint that Yahweh pays no attention to their fasting: . . . . Continue Reading »
Isaiah 58:10 begins with a chiastic clause that centers on the repetition of nephesh : A. If you give B. to the hungry C. your soul C’. and the soul B’. of the afflicted A’. you satiate . . . The text goes on to promise that the light of Israel will rise and become like the . . . . Continue Reading »
Job dismisses Zophar’s comfort with a “with you wisdom will die” (12:2). Job has heard wisdom before, and his ear is attuned to it. His ear tests words “as the palate tests its food” (v. 11). It’s a pregnant analogy. It suggests that hearing is active rather than . . . . Continue Reading »
Shakespeare’s English tetrologies explore the demands and perils of political ceremony . . . . . Continue Reading »
I’m biased, of course, but I think this piece written by my son Smith is lovely. Encourage a teenage composer and take a listen. . . . . Continue Reading »
In the introduction to a collection of Gabriel Marcel’s writings on music ( Music And Philosophy ), the editors note that Marcel prefers aural to visual metaphors to express the experience of being in the world. They quote Marcel: “I am not a spectator who is looking for a world of . . . . Continue Reading »
Roger Scruton ( Understanding Music: Philosophy and Interpretation ) finds Wittgenstein’s effort to link recognition of facial expression with musical understanding useful, but doesn’t think Wittgenstein’s use of the analogy finally satisfying. Scruton writes, “comparison of . . . . Continue Reading »
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