Foreword by Bruce McCormack For many students of Scripture and Christian theology, Karl Barth's break with liberalism is the most important event that has occurred in theology in over 200 years. In Karl Barth's Theological Exegesis Richard E. Burnett provides the first detailed look at this watershed event, showing how Barth read the Bible before and after his break with liberalism, how he came to read the Bible differently than most of his contemporaries, and why Barth's contribution is still significant today. As Burnett explains, the crux of Barth's legacy is his abandonment of the hermeneutical tradition of Schleiermacher, which had had such a profound influence on Christian thought in the nineteenth and twentieth centuries. This hermeneutical tradition, which began with Herder and extended through Dilthey, Troeltsch, Wobbermin, Wernle, and Barth himself prior to 1915, is characterized by its attempt to integrate broad aspects of interpretation, to establish universally valid rules of interpretation on the basis of a general anthropology, and by its reliance on empathy. Barth's discovery that "the being of God is the hermeneutical problem" implied that the object to be known should determine the way taken in knowing. This fundamental insight brought about a hermeneutical revolution that gave priority to content over method, to actual exegesis over hermeneutical theory. The development of Barth's new approach to Scripture is especially evident in his Römerbrief period, during which he developed a set of principles for properly reading Scripture. Burnett focuses on these principles, which have never been discussed at length or viewed specifically in relationship to Schleiermacher, and presents a study that challenges both "neo-orthodox" and "postmodern" readings of Barth. This is a crucial piece of scholarship. Not only is it the first major book in English on Barth's hermeneutics, but it also employs pioneering research in Barth studies. Burnett includes in his discussion important material only recently discovered in Switzerland and made available here in English for the first time -- namely, six preface drafts that Barth wrote for his famous Romans commentary, which some regard as the greatest theological work of all time. In making a major contribution to Barth studies, this volume will also inform scholars, pastors, and students whose interests range from modern Christian theology to the history of biblical interpretation.
Featuring essays from renowned scholars, this volume in the Westminster Handbooks to Christian Theology series provides an insightful and comprehensive overview of the theology of Karl Barth (1886-1968). This volume offers concise descriptions of Barth's key terms and concepts, while also identifying the intricate connections within Barth's theological vocabulary. Masterfully compiled and edited, this volume features the largest team of Barth scholars ever gathered to interpret Barth's theology. The result is a splendid introduction to the most influential theologian of the modern era. Contributors include Clifford B. Anderson, Michael Beintker, Eberhard Busch, Timothy Gorringe, Garrett Green, Kevin Hector, I. John Hesselink, George Hunsinger, J. Christine Janowski, Paul Dafydd Jones, Joseph L. Mangina, Bruce L. McCormack, Daniel L. Migliore, Paul D. Molnar, Adam Neder, Amy Plantinga Pauw, Gerhard Sauter, Katherine Sonderegger, John Webster, and many others.
The first critical biography of J. Gresham Machen, examining the full arc of his intellectual career J. Gresham Machen is known as a conservative hero of the fundamentalist-modernist controversy. But was he always so staunchly antimodernist? In this sweeping new biography, Richard E. Burnett examines the whole of Machen’s life and career—from his early years at Princeton, to his experience in the First World War, to his founding of Westminster Theological Seminary . Burnett pays special attention to topics that have received little attention from biographers, like Machen’s crisis of faith and his support for historical criticism of Scripture. Incorporating all of Machen’s major works as well as his previously unpublished private correspondence, Burnett crafts a nuanced narrative of Machen’s intellectual journey from enthusiastic modernist to stalwart conservative. Nuanced and thorough, Machen’s Hope will challenge scholars’ assumptions about Machen and his dynamic era.
Richard Burnett traces the development of the piano from its origins to the present day, using instruments from his internationally known collection, at the Finchcocks Museum in Kent, England, as the inspiration and navigational means for his story.
This suspense comedy, whose central characters are Inspector John Horn and his sidekick, soon-to-be-wife, Francesca Flaminare, involves the attempt by a secret society of Assassins in India to steal near-bomb-grade Plutonium in order first, to construct a bomb and then, using the threat of thermonuclear war if they are not recognized, to declare a separate state. One of their own submits to being killed in order to confuse the police by an apparent "perfect crime". Several of their number are murdered to silence them as the police close in. Finally, the ring-leader, a doctor, is apprehended and handed over to an Indian Army officer to stand trial in India, where he will be executed. After they have solved this case, Horn and Francesca marry one another.
The book honours the Rev. Dr. Robert A Kolb, retired Director of the Institute for Mission Studies and Missions Professor in systematic theology at Concordia Seminary, St. Louis, and perhaps the leading authority on the development of "Wittenberg Theology" in the English-speaking world. At the same time, his teaching and writing, which continues without flagging, has emphasized the importance of translating and retranslating the historic Lutheran faith in terms that address contemporary issues and contemporary people. In this volume, colleagues and co-workers address and push forward Kolb insights into the history of the Reformation era and on the impact of those Reformation issues (and quarrels) on the life of the church in the world today. With contributions by Charles Arand, L'ubomir Batka, Amy Nelson Burnett, Irene Dingel, Mary Jane Haemig, Scott Hendrix, Erik Herrmann, Werner Klän, David Lumpp, Mark Mattes, Daniel Mattson, Richard Muller, Paul Robinson, Robert Rosin, and Timothy Wengert.
“The Archer Who Shot Himself in the Back,” (69,408 words; 191pages). It begins with a random murder, ordered by an insane “Prophet,” interrupting the honeymoon of a pair of newly retired Military Intelligence operatives, and ends with the “Prophet” being defeated in a polo match against the new bride. “The Archer” story concerns the events of the first three months after good guys John Horn and Francesca Flaminare are married. It opens on the (fictional) island of d'Oc located in the English Channel which, like the (really existent) island, Sark, is a left-over from the time when France claimed possession of England and the Channel islands. Francesca inherits a manor house through her father, and the couple moves there to enjoy life together. Like Sark, d'Oc is politically independent and is managed by members of the hereditary line reaching back to French times—presently knows as “The Dame of Sark.” In this fictional case, the Dame of d'Oc is one Dame Primrose, and the action begins with a dispute over the ownership of a medieval castle on a small island just off the coast of d'Oc. The dispute concerns who is the proprietor of the castle? On the one hand, there is an insane cousin of Dame Primrose, one Giles Grimsby, who claims to be a descendent of Ishmael, one of the sons of the patriarch, Abraham. Giles claims that he is the lawful owner of the castle, and inhabits it with a band of followers who look to him as a prophet who is going to unite Christians and Muslims under his rule. In the course of his travels to collect money and disciples, he kills several orthodox Christians who loudly decry his mission as heretical madness. On the other hand, there exists, to this day, a band of Arabs (I have given them blue-eyes for effect) who are descended from a regiment of Crusaders whose lord went over to the side of the Arabs, and, as proof of his conversion, willed the castle to the descendents of his regiment. In this story, a Sheik of the tribe sends his son to infiltrate Giles' group to find out what is going on at the castle, and, when he falls under suspicion, Giles has him perform a feat of archery which the Crusaders learned from their foes—namely, to shoot an arrow into the air so that it lands within a few feet of the archer. (This permitted the archer to stand on one side of a wall and kill men on the immediate other side.) When the Sheik's son shoots the arrow into the air, Giles' men instantly drag him to a bale of hay just in front of him and he is killed by his own arrow as it returns. Since only members of that tribe still know how to do this, Giles knows who the young man was and why he was there. The Sheik learns of the murder and comes to the island to avenge it.
This comedy is a "Punch & Judy" show of the heart. "Punch," Jean-Philippe Gautier, a remarkably handsome Anglo-Frenchman, is deeply in love with Olympia, i.e., "Judy." Olympia, who is just as deeply in love with him, feels she has been cursed with what she (wrongly) considers to be a homely face and cannot believe that Jean-Philippe's frequent advances are not motivated by a Gallic contempt for Americans in general and in particular for rich American women in love with French heart-throbs. They spend their time clubbing one another because of their mutual misunderstandings, but finally marry at the end. Set in Vienna, Philadelphia and Paris, the story will appeal to those readers who appreciate gracefully written, seriously funny writing. Its target audience is the thoughtful, literate post-pubescent reader who has learned that the greatest acts of love often take place outside the bedroom. My motivation in writing this novel is expressed in its Dedication: To all who have willingly lost the battle between the sexes in order to win love. In writing this book, I wanted to present a realistic picture of what loving individuals are like, rather than the current twaddle written by psychology majors or by the broken-hearted.
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