The Power of Religious Naturalism in Karl Peters's Dancing with the Sacred
Abstract. This essay is an appreciative engagement with Karl Peters's Dancing with the Sacred (2002). Peters achieves a naturalistic theology of great power. Two themes are covered here. The first is how Peters gives ontological footing for a naturalistic conception of God conceived as the proc...
| Main Author: | |
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Wiley-Blackwell
2005
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| In: |
Zygon
Year: 2005, Volume: 40, Issue: 3, Pages: 667-682 |
| Further subjects: | B
personal God
B “God” B creative transformation B Ontology B Pragmatism B Grace B serendipitous creativity B naturalistic theology B evolutionary theory B Humanism B Henry Nelson Wieman B Physicalism B Mystery B God B valuational theism B Darwinian structure B Purpose B Creativity B Materialism B Gordon Kaufman B Experience B random variation B nonequilibrium thermodynamics B Sin B cruciform structure B Naturalism B existentialist interpretation |
| Online Access: |
Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
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| 520 | |a Abstract. This essay is an appreciative engagement with Karl Peters's Dancing with the Sacred (2002). Peters achieves a naturalistic theology of great power. Two themes are covered here. The first is how Peters gives ontological footing for a naturalistic conception of God conceived as the process of creativity in nature. Peters achieves this by conceiving creativity in terms of Darwinian random variation and natural selection combined with the notion of nonequilibrium thermodynamics. He gives ontological reference for a conception of God similar to Henry Nelson Wieman's idea of creative transformation. The second theme is how Peters succeeds in translating this nonpersonal conception of God into a powerful view of naturalistic religion that can shape a religious form of life. The key is that Peters's God can be understood as present in experience. Peters provides naturalistic interpretations of grace and the cruciform structure of creativity; the latter addresses the problem of evil in a nuanced fashion. I conclude with three critical comments about Peters's environmental ethics, his use of the notion of mystery, and his failure to have a robust conception of human fault or sin. | ||
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| 650 | 4 | |a serendipitous creativity | |
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| 650 | 4 | |a Purpose | |
| 650 | 4 | |a Pragmatism | |
| 650 | 4 | |a Physicalism | |
| 650 | 4 | |a personal God | |
| 650 | 4 | |a Ontology | |
| 650 | 4 | |a nonequilibrium thermodynamics | |
| 650 | 4 | |a naturalistic theology | |
| 650 | 4 | |a Naturalism | |
| 650 | 4 | |a Mystery | |
| 650 | 4 | |a Materialism | |
| 650 | 4 | |a Gordon Kaufman | |
| 650 | 4 | |a Humanism | |
| 650 | 4 | |a Grace | |
| 650 | 4 | |a “God” | |
| 650 | 4 | |a God | |
| 650 | 4 | |a Experience | |
| 650 | 4 | |a existentialist interpretation | |
| 650 | 4 | |a evolutionary theory | |
| 650 | 4 | |a Darwinian structure | |
| 650 | 4 | |a cruciform structure | |
| 650 | 4 | |a Creativity | |
| 650 | 4 | |a creative transformation | |
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