Saturday, April 30, 2011

From Sydney to Skopje 3 - Theological Anthropology

I am here in Macedonia as a guest of the newly founded Balkan Institute for Faith and Culture, which is run by my good friends Kosta and Nada Milkov:




One of the things that the BFIC would like to promote is a series of lectures/seminars for pastors called 'Theology for Life'. Yesterday I began teaching a group of around twenty evangelical pastors and pastor's wives from all over the country and from Bulgaria as well my 'Theological Anthropology' material. There were Baptists, Congregationalists, independents, and others too. The material was designed for Moore College's MA course/4th year programme - that is, for theology graduates who are in pastoral ministry or about to enter it, but with a degree of assumed knowledge. The group of pastors and their wives certainly all fit this profile, and participated knowledgeably and insightfully. I am completing the course today (Saturday) by teaching from 9am to 6pm. I believe we will be stopping for lunch!





Here is Kosta at the church building where the seminar is being held.





This is the Evangelical Church of Macedonia in Skopje.





This is the seminar about to get down to work.



And here we are four hours later having finished for the evening. It was a very enjoyable time with a lot of stimulating discussion and plenty of laughs!





Friday, April 29, 2011

From Sydney to Skopje 2

So I have mostly recovered from my jetlag, and I don't look so much like this anymore:








I have been resting up good at Kosta, Nada and Gabriella's flat in Skopje:




They have real mountains here - and you can almost see them in my poor photograph:






Then on Thursday afternoon I went to my first speaking event at the Evangelical Church in Skopje. I was speaking on 'The Christian Life - Faith, Prayer, Obedience:








30 or more people turned up from 4pm, and then at 6pm my last talk was part of a service that including singing and prayer. We sang 'Blessed be the Name' and 'Lord I lift your name on high'. As it turned out, we were also visited by a mission team from a bible college in Tirana, Albania who in turn brought with them some Italians. So I had my talk translated into Macedonian, Albanian and Italian. It was a lively meeting!






We then went out for some food:



Tomorrow I am teaching Theological Anthroplogy to a group of pastors and others. Ciao!

Wednesday, April 20, 2011

Andrew Cameron's Joined-Up Life

My colleague and friend Andrew Cameron has just published his book Joined-Up Life. It's an account of what we usually call 'ethics'.

Anyone who knows Andrew will know that he is one of the most perceptive and interesting Christian thinkers around. I am about 100 pages in and I can say already that the book marries pith and profoundity - no mean feat.

Monday, April 18, 2011

Euthanasia as corrosive of care relationships

I was once privileged, when I was a School Chaplain several years ago, to lead an hour-long discussion with a class of sixteen year olds on the question of suicide.
As Chaplain, I was privy to information that many in the class were not: that there were at any given time as many as ten students in the school for whom there was grave concern about the possibility that they might attempt self-harm.

The question I put to the students was this: what would you do if a friend of yours told you that they had decided to kill themselves?

The answer was chilling – more chilling than they realised. As one they insisted that, although this was a sad circumstance, you ought not intervene and tell someone else they couldn’t do it, if that was their decision. You could certainly not say to the person that they were doing the wrong thing.

For the students, the autonomous decision of the individual was absolutely sacrosanct, even to this terrible point.

This story is not about euthanasia, exactly, but it is about the kind of moral language we are equipped with and with which we are equipping young people. And it demonstrates the prison into which we have locked ourselves with the language of free choice. The priority of the individual’s right to choose renders us inarticulate just where we most need to say something. It coarsens our moral language. It makes us unable to say to someone else: ‘You can rely on me to stay with you and preserve your life as far as I can even when you feel like doing harm to yourself.’

It is the language of moral autonomy that propels the push for voluntary euthanasia, and renders us speechless to oppose it. For if my individual freedom to choose is the trump card in all moral questions, then the best thing that the law can do is to facilitate that choice. In this instance, that means legislating so as to enable the medical profession to assist in the suicide of terminally ill patients in their care should the patient seek to be so assisted. If individual choice is ultimate, then it seems to me there is no argument.

But I would argue that, as a theological perspective shows us, individual choice is not ultimate. It is part of a whole suite of moral factors that have bearing on these very complex and difficult circumstances. The choice to end one’s own life is, in most circumstances, an immoral choice that the law should protect us from making; and in which the law should protect others from complicity.

Why is this?
Because we are, as the Christian story tells us and plain observation confirms, not essentially agents of individual choice, but creatures made for community. We are made for love and trust more than we are made for freedom. And it is to love sustained by trust that we owe our moral decision-making, and not to freedom. It is not permission that we need, but a knowledge of what our licence to act in a certain way might cost others.

We should remember that for Christians, life itself is not an absolute good, nor even the highest of goods. Christians carry before them an astonishing symbol - the cross of Jesus Christ. At the very centre of the Christian gospel is an act of voluntary self-sacrifice to suffering and death. This is what Christians call ‘the good news’. That free laying down of one’s life becomes in the New Testament the very source of life for those who follow Christ. And it becomes the model for their lives in turn. The Christian is called to a cross-shaped existence as an echo of and a testimony to that relinquishing of a life that others may live. Christians are those who are ready to die for what they believe – and have done so in their droves down the centuries.

What does this teach us? That life is good as a wonderful gift from a good creator, but that it is not the ultimate good. There are some things that are worth giving up your precious life for. As American theologian Stanley Hauerwas says: ‘Dying is not the tragedy but … dying for the wrong thing’. Christians repudiated the Roman cult of noble suicide to preserve one’s honour. But they certainly accepted that a violent death might well be the price of a life lived in the service of God. Greater love has no-one than this: to lay down one’s life for one’s friends.

What the martyrs show us is that death is unavoidable – but that the manner in which one dies may remarkably affirm human life. If a death affirms human life it must do so by affirming the communities of trust and care that are basic to human existence. One of the basic conditions that shapes human community is our willingness to live and our assumption that others share it.

If we have some manner of control about the manner of our dying, then, let us rule out the possibility that the voluntary euthanasia proposal may well afford us. Because death seems so lonely, the temptation to which we may succumb is to think of our dying as an isolated incident quite apart from anyone else. What is in fact the case is that in calling on others to assist us in ending our life, we are normalising this manner of death. We are inviting the medical profession to ask why the person in the next bed has not chosen the same but is insisting on staying alive when the bed is needed and the palliative care is expensive. We are inviting our community to increase its loveless-ness towards the elderly and the sick – after all, if their choice is to stay alive, then they can be blamed for it.

Law is a blunt instrument in the moral life. I am not heedless that the change in the law is sought for the purpose of alleviating great suffering. But the law can help us here by preparing us for the human-ness of our death. It can restrain us from insisting on a death which will corrode the community’s commitment to care for the elderly and the sick. It can restrain our tendency to see the aging population as an accounting problem. It can restrain us from investing far too much moral authority in the medical profession, under the illusion that men and woman of science deal only in tangible facts. It can restrain us from on insisting on a right to die which comes at the cost of another’s right to stay alive.

The pressure on the sick, the disabled and the dying is already there. We cannot, as those who are schooled in the gospel of Jesus Christ, commit to a policy which deepens their abandonment, nor can we commend it to our community.

Friday, April 08, 2011

Thursday, April 07, 2011

Sublime Depravity - Human nature and the arts IV

What might humans “do” with the arts? Will we be wasting our time in creating art or thinking about it when “the time is short”? Will art have a diverting or even corrupting influence on us, leading us to idolatry or immorality? Surely not. Art is a good part of God’s good creation; the freedom, ability and materials necessary to produce art are his gifts. Yet, like everything created, it is in bondage to decay as a result of sin (Rom 8:20-1). The effect of Christ’s work is not just a return to the way things were, but promises a transformation of creation (Rev 21:5). However, that redeemed people are satisfied with cosy banality when they have a foretaste of such splendours is bewildering and disappointing. Having glimpsed eternity in the resurrection of Jesus, will we not be more aware of that which demeans our humanity? As we reform our bodies in conformity with their heavenly destiny, so oughtn’t we to reform our imaginations in line with Paul’s evocation of the true, honourable, just, pure, pleasing, commendable and praiseworthy in Phil 4:8? In the best hymns, for example, are united words that are neither merely theologically correct nor trite but rich and evocative with music that serves those who sing it by lifting their spirits in glorifying God. Neither sentimentality nor mere formalism have a place. The Christian hope gives us confidence there is in the arts potential for real communication and pleasure. The Christian hope gives us a grasp of reality that richly informs discussions of the arts. The Christian hope speaks of God’s judgement, and thus allows for a thorough critique of the abuses of art. The Christian hope also draws our imaginations to Christ. There is then every good reason for a Christian delight in the arts. Indeed, for Christians to maintain that there is a real joy in the arts glorifies God. Far from wasting time, they are (potentially) a redemption of time. The arts, created and experienced under the fear of God, have, like sex, their own peculiar ecstatic holiness.

Wednesday, April 06, 2011

Sublime Depravity - Human nature and the arts III


Can art be a “redeeming of the disorder mirroring God’s redeeming work in Christ”? Could creative endeavour be a part of the re-creation? There is a danger in speaking as if the arts in themselves extend Christ’s work, or as if artistic “inspiration” could be akin to “sanctification”. However, we can view human art as anticipatory. When order is wrested from the hands of chaos in a work of art, may we not catch a glimpse of the final goal of creation? The human imagination knows that something is not right with the present world. Art can turn us in the direction of a perfection we do not possess. The Christian is aided by the theme of Sabbath, which encapsulates this tension: while being a chance for enjoyment of God’s creation, it is also a reminder of the future “rest” not yet attained, but promised in Christ. There is no natural theology in the human arts; but the arts may display inklings of what Christians know and worship. In his speech at the Areopagus in Acts 17, Paul is able to take the words of a pagan poet - “For we too are his offspring” - as his text. Even art such as Francis Bacon’s - which explicitly denies God - is still asking the God-question.

Of course, I can also hear Karl Barth’s thundering “Nein!” Barth was emphatic that there was no relation at all between the arts and theology. And yet his love of Mozart’s music led him to make the astonishing claim that the composer should hold a “place in theology, especially in the doctrine of creation and in eschatology” . He wrote in the context of a discussion of the “shadowside” of creation, thinking of finitude and all its effects. Barth heard in Mozart an expression of the goodness of creation, including its limits; and that “creation praises its Master and is therefore perfect.” This is in harmony with the Wisdom literature. Inklings of God are present in the human arts (just as they are in nature); the Christian has been given the eyes to see them. The musical, poetic and painterly renditions of the human condition may take us to the “very threshold of transcendence and the theological;” but it is only encounter with Christ that takes us over it. Works of art are altars to an Unkown God - the God that makes himself known in the glory of the incarnate Word.

Tuesday, April 05, 2011

Sublime Depravity - Human nature and the arts II

In thinking theologically about the arts we will be naturally attracted to the doctines of creation, humanity, and revelation. But it must be stated from the outset that all of these have a disctinctive Christ-shape in true Christian thought; so that we will need to bring Christ to bear at every point of our discussion. Creation is dependent on God - but is not God. The doctrine of the Trinity helps to explain how God may relate to the world and yet not be the world. Further, unity and diversity are both true aspects of the created order. Humanity is given a unique role in the creation as the divine viceroy. Creation was not created “perfect” in some Parmenidean sense, but “very good”. It was in need of subduing, naming and enjoying. Human beings were given the capacity to imagine, to describe, to exercise choice; and to become second-order creators, working to shape God’s creation according to these gifts. John Calvin even went as far as to say that the human capacity for art is innate. Built into the structure of the world was the Sabbath, a rest for humans from their work. Art is a part of the subduing, naming and enjoying of God’s world: it interacts with creation and gives it order and new significance. The incarnation further reminds us that matter is not intrinsically evil. Conversely, the Christian doctrine of creation does not allow the human being to worship the creation, even when he or she makes it into art. The wisdom literature of the Old Testament explores the relationship of man and woman to God and to creation. “The fear of Yahweh” is the principle which explains both the freedom and the limit of human wisdom. On the one hand, humble service of and deference to the mighty creator and sustainer of the cosmos enables a person to comprehend experience, because it recognises divine order. There is no sacred/secular division - all the world is God’s. On the other hand, the phrase is a reminder of the limits placed on human wisdom. It recognises the hubris of men and women, and rebukes it. Above all, Jesus Christ provides the model of true human wisdom; and as Paul explains (1 Cor 1-2), Christ’s cross is the wisdom of God in action, confounding proud human wisdom. “The fear of Yahweh”, then, provides a useful motto for discussion of the arts. Christology declares the radical fallenness of the world—the miracle of the incarnation illustrates the depth of the despair. Goodness, beauty and truth are disrupted. Ugliness and disorder arise. While God’s order remains, humanity’s contact with that order is tenuous. However, the advent of Jesus Christ points us beyond the fall to the reconciliation of all things in Christ. The world, which was made through Christ, runs to the order of Christ. As art eloquently explains, human society is troubled by death. Christ’s resurrection from the dead points to the end of death’s rule and to the future transformation of the present order. The testimony of the Apostles is to the resurrected Christ’s Lordship over the world. What occurs in Christ is a re-creation - a new humanity is formed, by the Holy Spirit, in the present age. This is a people with imaginations re-formed as hope in Christ. They experience a present resurrected reality (John 10:10, Col 3:1-5); and they anticipate the perfecting of their bodies by godly obedience expressed in service. Here is the beauty of holiness, rather than the holiness of beauty. A similar kind of inversion is achieved in the pattern of God’s work in Christ. The image and glory of divinity itself, Christ emptied himself of all claims to equality with God, and submitted himself to the ugliness of the cross. Isaiah wrote of the Suffering Servant: “ - so marred was his appearance, beyond human semblance, and his form beyond that of mortals -” (52:14). The cross is a moment of grotesque ugliness; and yet also it is moment when a restoration of beauty is wrought. Swiss theologian Hans Urs von Balthasar compared faith to an aesthetic contemplation of the God’s work in the world. What God has done in redemption through Christ is itself a work of art, and one that counters proud human ideas of beauty. The doctrine of revelation points to the Christ’s uniqueness as God’s Word. Both visual and verbal descriptions are used of him: he is the “Word” and the “image” of God (John 1, Col 1). The arts then, do not contain of themselves a revelation, however they might mimic it. Yet given the success of God’s communicative act in Christ, we can have confidence that there is an order to creation and that are more than merely arbitrary meanings in art. Ultimately, the cosmos, though marked by sin, is a coherent realm in which meaningful artistic interactions may take place.

Monday, April 04, 2011

Sublime Depravity - Human nature and the arts I


Dorothy Sayers once wrote:

The Church as a body has never made up her mind about the Arts, and it is hardly too much to say that she has never tried. She has, of course, from time to time puritanically denounced the Arts as irreligious and mischievous, or tried to exploit the Arts as a means to the teaching of religion and morals....And there had...been plenty of writers on aesthetics who happened to be Christians, but they seldom made any consistent attempt to relate their aesthetic to the central Christian dogmas.

The goal of this paper is take up Sayer’s challenge by attempting to relate the arts to the major themes of the Christian faith. By “the arts” I mean the whole gamut of human imaginative and creative activity, including literary, musical, architectural, theatrical, visual, and even televisual arts. Art involves the imaginative arrangement and presentation of matter, such as words, or paint, or notes. It is universal and ubiquitous—no human society is without some form of art, and virtually no human being would live out of contact with art. The arts are held to engender an aesthetic response, meaning that something more than a merely sensory or intellectual or even emotional may be felt when we experience art.

Like work, art is cursed. As Nicholas Wolterstorff writes:

Art is not isolated from the radical fallenness of our nature. It is an instrument of it. Art does not lift us out of the radical evil of our history but plunges us into it. Art is not man’s saviour but a willing accomplice in our crimes.

The human imagination reveals its own fallenness in its art. Not only do inherently corrupt forms of art—blasphemy, pornography, idolatry, kitsch, propaganda—proliferate; but our expressions of order are subject to chaos, and our hopes are subject to despair. And yet the arts have the capacity to elevate us, to provide some of our most glorious moments, to show us most in tune with ourselves and the world, even to give us inklings of the divine. As within man and woman themselves, there remains the tension between the potential both for great beauty and also great vileness.
The Christian response to the arts has been likewise rather ambivalent, for several reasons. First, the strength of the second commandment has been taken as a warning against depictions of the divine. Christ is the only true image (eikon) of God (Col 1:15): our imaginations are not permitted liberty concerning Him.


Second, the gospel mission (because “the time is short”) holds an absolute precedence over artistic activity. The old created order is beyond redemption (it is said) and will soon be exposed to fire. The human arts have no eternal value; so that they are not worth cultivating.

Third, since art often involves the outward expression of the inward state of the human psyche, evangelical Christians, who have a strong doctrine of inner sinfulness, may well fear what such expression reveals. That is, the public projection in art of inner depravity may draw a censorious response, rather than an intelligently engaged one, from conservative Christians.


Fourth, Protestant evangelicals have displayed a suspicion of metaphor and representation—which are central to the arts—perhaps derived from the priority of the sensus literalis in scripture reading.

Fifth, as the religious and the aesthetic are felt by some modern theologians to be responses to the same thing, more orthodox Christians have recoiled from the arts. Paul Tillich saw in art an revelatory expression of the “Ultimate Concern”. The beautiful is also holy and transcendent. For Tillich, art and theology both touch on what really “is”. Certainly, modern artists such as Wassily Kandinsky and Marc Rothko have painted as if this was the case. However, for those who would uphold the Christ revealed in the scriptures as God’s unique revelation, Tillich’s claim for art is extremely unsatisfactory. But what is to be said, thought and felt about the arts if what is said is to be theologically accurate?