Theology, tragedy, and suffering in nature: toward a realist doctrine of creation

This dissertation proposes the adoption of the concept of tragedy as a theological category, as a way to address the traditional problem of suffering in the natural world, customarily known as the problem of natural evil. The theological utilization of the concept of tragedy enables a Christian doctrine of creation to remain accountable to the structures and processes of the natural world, including evolutionary development. Many traditions evince an awareness of the intractability of suffering in nature and there have been various religious responses to it. Within some Christian communities, the discovery by Charles Darwin (1809-1882) of evolution by natural selection proved disruptive to established ways of addressing that issue. This disruption has been especially significant in the area of theological interpretations of creation. This is the case in part because of the way evolutionary theory reveals the role of starvation, predation, and constrained stochasticity in the development of ecosystems and organisms. Theological responses to evolution within the Christian tradition have typically failed to come to terms with these features of biological evolution. However, Hans Urs von Balthasar (1905-1988), Donald MacKinnon (1913-1994), and Rowan Williams (b. 1950) have, in different ways, shown how theological interpretations of tragedy can achieve a high degree of realism in regard to suffering, respecting the unique characteristics of individual experiences while situating suffering in a theologically meaningful frame of reference. These thinkers have also identified an awareness of tragedy within the Christian tradition itself, particularly as it is reflected in liturgical practices. This dissertation employs these insights to address the issue of suffering in the natural world, in order to contribute to a realist Christian doctrine of creation. The theological category of tragedy does not solve the problem of natural evil. But it has the double virtue of attending closely to the specifics of the natural world and maintaining a principled tension between experiences of suffering and Christian claims about the possibility of redemption

Language Origins: From mythology to science, 226 s.

The science of language evolution appeared at the end of the last century but top¬ically belongs to language origins – the domain of investigation that is concerned with the beginnings and diversification of language. Language evolution as a research area contrasts with the antiquity of language origins, which can be traced back to the earliest forms of traditional reflection. Language evolution emphasises its scientific orientation, whereas throughout most of its history language origins constituted a complex mixture of mythology, philosophy of language, as well as religiously and scientifically inspired speculation. This work is the first book-long attempt to document the whole history of language origins and situate language evolution in this wide intellectual context

Understanding creativity through memes and schemata

When it comes to the notion of creativity, both R. Dawkins and D. Dennett argue that creativity is a matter of random mutation, in the same way that genes randomly mutate. Neither Dennett nor Dawkins see anything else in the mimetic theory of creativity than a process of Darwinian evolution. However, this complete reliance upon the extension of evolution for understanding creativity needs to be supplemented by combining it with other ideas such as those of "schema theory," because creativity always occurs within a structured context and is not simply a matter of random mutation of ideas. Schema theory comes largely from the works of E.H Gombrich, who argued that "schemas" play a crucial role in how it is that we are able to be creative. He defines schemas as structure and traditions in society that help to convey the meaning of our creative efforts. Just as semantics needs syntax within language in order to formulate and convey meaning, so by analogy memes need schemas for the creation and expression of new ideas. Rather than being the antithesis of creativity, existing forms of expression and traditions are important for the creation of new ideas. This needs to be factored into any theory of creativity in order to account for the effect of the social context on creative endeavours in addition to a Darwinian account of memes. The unconscious processes at work within the brain that are involved in the generation of ideas and other creative products can be understood using the notion of a "generator", as originally conceived by D. Dennett. This notion goes beyond mere concrete Skinnerian behavioural trial and error. Within this generator, there appear to be at work processes such as those of bisociation and association, as discussed by A. Koestler, as well as processes such as the role of language, memory, generate-and-test and intentionality that must be acknowledged in addition to the syntactic operations of schemas and the replicating contents of memes. The operation of all of these ingredients within the generator, when understood together, can be seen as responsible for our ability to be creative