scholarly journals The Dialogical Self Analogy for the Godhead: Recasting the “God is a Person” Debate

2021 ◽  
Vol 9 (2) ◽  
pp. 91-113
Author(s):  
Scott Harrower

May God may be understood and referred to as a “person”? This is a live debate in contemporary theological and philosophical circles. However, despite the attention this debate has received, the vital question of how to account for God’s trinitarian nature has been mostly overlooked. Due to trinitarian concerns about the unqualified use of “person” as an analogy for the Godhead, I intervene in this debate with a two-fold proposal. The first is that proponents of using a person as an analogy for the Godhead will be better served by using a psychologically informed analogy of a “self” instead. In particular, the Dialogical Self model of a person holds much promise. In what follows, I argue that the “Dialogical Self Analogy” for the Godhead is more likely to uphold God’s trinitarian nature, avoid trinitarian confusion and related problems than “person” analogies do. The primary benefit of speaking of God as a Dialogical Self is that it offers a psychologically modelled analogy for God, whilst avoiding the language of person, yet strongly taking into account God’s trinitarian nature. This has the important benefit of preserving the concept and language of “person” for the trinitarian persons (the prosopa/hypostases), and hence avoiding the linguistic, conceptual and ecumenical confusion that arises when referring to the Godhead as a person. The strength of using the model and language of a Dialogical Self as an analogy for the Godhead (instead of person) is demonstrated by showing its compatibility with Erickson’s criteria for describing the Trinity.

2016 ◽  
Vol 25 (2) ◽  
pp. 225-242
Author(s):  
Cal Revely-Calder

Critics have recently begun to pay attention to the influence Jean Racine's plays had on the work of Samuel Beckett, noting his 1930–31 lectures at Trinity College Dublin, and echoes of Racine in early texts such as Murphy (1938). This essay suggests that as well as the Trinity lectures, Beckett's later re-reading of Racine (in 1956) can be seen as fundamentally influential on his drama. There are moments of direct allusion to Racine's work, as in Oh les beaux jours (1963), where the echoes are easily discernible; but I suggest that soon, in particular with Come and Go (1965), the characteristics of a distinctly Racinian stagecraft become more subtly apparent, in what Danièle de Ruyter has called ‘choix plus spécifiquement théâtraux’: pared-down lighting, carefully-crafted entries and exits, and visual tableaux made increasingly difficult to read. Through an account of Racine's dramaturgy, and the ways in which he structures bodily motion and theatrical talk, I suggest that Beckett's post-1956 drama can be better understood, as stage-spectacles, in the light of Racine's plays; both writers give us, in Myriam Jeantroux's phrase, the complicated spectacle of ‘un lieu à la fois désert et clôturé’. As spectators to Beckett's drama, by keeping Racine in mind we can come to understand better the limitations of that spectatorship, and how the later plays trouble our ability to see – and interpret – the figures that move before us.


2016 ◽  
Vol 49 (1) ◽  
pp. 121-137
Author(s):  
Jordi Gayà Estelrich

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