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The most conspicuous evidence of this is the way that McClendon chose to begin his systematic theology: with ethics (Vol 1)! The usual presentation of systematic theology assumes an order presumed to be the only logical and proper way: that is beginning with 'prolegomena', followed by 'doctrine', then 'ethics'. 'Prolegomena' discusses questions of method and so forth, largely in terms of current philosophy and usually in terms of philosophical 'grounding' or justification for the following theological project. Doctrine provides a systematic presentation of Christian teaching often in quasi-scientific format and categories. Ethics, however, as Ron Sider says, is "often left until last and then left out"! McClendon seeks to counter this disjunction between doctrine and ethics by exemplifying another way that shows that 'doctrine' and 'ethics' are two sides of the same coin. It is the modern situation that has treated them separately.
McClendon does not challenge the threefold description of the theological task. He recognises that our convictions that make our
"common life possible fall into three broad, overlapping categories, those that inform Christian living (moral convictions), those that display the substance of Christian faith (doctrinal convictions), and those that open out into a Christian vision or worldview (philosophical convictions)." (21)
It is only with the foundationalist treatment of logical priority that he is concerned. According to McClendon, one can begin with any of the three but must recognise that each one presupposes to some degree the rest. The terms represent three levels of entry into theology, three kinds of "probing". Thus it is inaccurate to portray him as seeking to base theology on ethics as a new foundation. His decision to begin with ethics has to do with chronological priority, not logical priority.
Unsurprisingly then, McClendon finds himself in the company of those 'postmodern' in his rejection of general human categories as the basis of Christian systematic theology. He is not concerned with 'first principles' or to start from scratch but best exemplifies John Yoder's alternatives to "methodologism"; namely "walk and word", to begin "where we are", in the midst of the story of God in Israel, Jesus and the Christian community as witnessed in the Scriptures. Interestingly, it is almost to 'damn with faint praise' to label McClendon 'postmodern' since his earlier 'philosophical' work, Understanding Religious Convictions (co-authored with James Smith), was in many respects ahead of its time. As he and Smith comment in their updated edition, "we believe, not that we are catching up with the times, but that the times have at long last caught up with us."
If there is any doubt as to McClendon's engagement with the mainstream 'greats', then his Doctrine should remove them. McClendon engages with the breadth of the Christian tradition in an erudite and masterful way. Yet, as Hauerwas notes, it is Hans Hut (the sixteenth century martyr) rather than Hegel (the philosopher of the absolute) who is representative of the power of the Christian reality and who is paradigmatic of Christ's victory. In this way, McClendon both takes the best of the mainstream tradition and also subverts it with the 'weakness' of Christ and 'foolishness' of the gospel.
One of the many merits of McClendon's Doctrine is his exemplification of his concerns. His second volume is an example of service to the teaching practice of the Christian community. Such teaching of doctrine is "first order" and doctrinal theology is "second order" (23-4).
Doctrine's order is also somewhat disorienting to the traditional systematic theology reader. Whereas traditional theology typically begins with attributes of God, God as Trinity etc, the chapter on the "Identity of God" does not appear until halfway through. Instead McClendon begins with Eschatology under the section, "The Rule of God" moving on then to "The New in Christ" and then to Creation. The narrative approach places eschatology as the focus and telos of all that is to come and the view through which all else is understood, presented in a way more radical than that of the 'eschatological theology' of Thomas Finger. Each theme is treated fully cognizant of the others preceding and following. Philosophical engagement is also frequently present but it is McClendon's exemplification of the Christian tradition that is able to argue and persuade in way that is far superior to the philosophers and methodologists such that it seems, in David Ford's Barthian phrase, "the Best Apologetics is Good Systematics."
I only wish that McClendon had written a larger volume of doctrine or perhaps two since there is sometimes the sense that discussion is cut short. I felt left hanging at the end of his discussion of the divine and human in Christ as well as on theories of the atonement, for two examples. But where it may not fully satisfy here in this regard, it may instead inspire others to continue thinking.
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The concept of limited war is one that the author never seems to grasp. He even manages to write an entire book on it without mentioning George F. Kennan, the architect of this war-without-victory concept. The publishing date of 1986 is telling, as the author's pronouncement that the U.S. military has not learned from its past mistakes in Vietnam would shortly be proved wrong in Kuwait. In his subsequent update, he cites Saddam Hussein's continued tyranny after 1991 as proof of failure, as though this was a military blunder rather than a political decision.
Gibson's obvious affection for "wars of national liberation" carry over to his conclusion in which he seems to employ a fairness doctrine to war. If the other side is not our technological equal, we should not use our superiority to reduce our casualties and shorten the conflict. War is always a catalyst for invention and innovation, and the side that does a better job typically prevails. This did not happen in Vietnam because our electorate grew disillusioned after 14 years of war, and because we have elections every two years that resulted in a government that eventually cut the funding--and it is not possible to wage war without money. The other side did not have elections, but they did have tyrants in charge who were quite willing to expend ten or twenty of their young men for every American KIA. In the end, the war of containment became a war of attrition. This is another concept that seems not to have occurred to Mr. Gibson.
in-country, being non-military, but supporting the US Army, in both combat and non-combat situations, this book cleared up a lot of "why in the world is this or that happening"? Also, there were several situations that Gibson mentioned that I was a participant in and his writing gives me the notion that he does have some idea of what he speaks.
I do not believe he was leaning to the communist efforts, this writing was about our side. I also know that everyone there was not a dope smoking idiot, but the way MANAGEMENT handled most situations, made a sane person wonder what in the heck were THEY thinking and whos side were THEY on? I have never seen such waste of assets and personnel!
I believe everyone who was there would have a better understanding of all of the goofyness that went on, and there was plenty of it, if they would read this book.
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The Dark Clue:
a) is utterly devoid of humor (you won't laugh)
b) builds no sympathy in the reader (you won't cry)
c) at 390 pages (in my copy), it certainly makes you wait, but there is a total absence is suspense (your waiting will be tedious).
James Wilson has written a very accomplished novel, in that it recreates Victorian speech and settings quite proficiently. It obviously took him years of research and writing time. But where are the rounded, memorable characters, like Laura Fairlie's peevish uncle with his delicate "nerves" (from The Woman in White) or the terrifying Count Fosco with his white mice, or even the faithful house-steward Gabriel Betteredge (from Collins' The Moonstone) who consults his copy of Robinson Crusoe at every important turn in his life? Lastly and most importantly, what Wilson does with the brave, noble characters of Marian Halcombe and Walter Hartright is not only UNTRUE to their characters, but despicable. For a terrific Victorian novel, stick to Wilkie himself.
The tale is the writing of a biography, a book within a book. The subject is the 19th century painter J.M.W. Turner, and the author has used all 7 major biographies of the man to write his novel. I have read none of them, but I cannot imagine any of them being less enjoyable than this book, and I bet they even have pictures! My complaints in general are that the book is too long, the story presumes the reader to be obtuse, the ending is completely unsatisfying, and this book must be amongst the entries for the most obsessive use of commas. The first two sentences have 4 commas, 2 hyphens, and a parenthetical. The cadence of this book is an uncertain staccato.
I have read Mr. Wilson's other book which was non-fiction and extremely well written. I don't know if he has the ability to eventually write a great or even a good novel, but he will never get there by trying to imitate the work of another. He makes his attempt exponentially more difficult by trying to mimic the writing of an author who has endured for centuries, and he even borrows a character from the man he seeks to emulate.
As the main character in this book sinks in to depravity, the story becomes confused, unsure of what it wants to be, and who is in charge. Many authors say they create their characters and then let them lead. Allowing them to lead, and allowing them to run amok are very different.
I say this is the best reading we can hope for... fiction combined with real historical characters and education combined with great entertainment.
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I am sorry I wasted my money & was responsible for the deaths of the trees that made it!
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Thanx
Norma_Zuniga@yahoo.com
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Worth owning and using.
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