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Abstract. The Pentecostal mission inherited the way of colonialism in conveying the Good News to humanity. The imposition and universalisation of the doctrine to every tribe, culture, religion, and group is a common way to do it. Conversion from other religions and proselytization from other Christian sects become the achievement and measure of the mission's success. This article examines the mission's authentic meaning that can change the paradigm of conversion and proselytization as the mission's success. I used the perspective of hospitality and theopoetics to construct the authentic meaning of the Pentecostal mission. The research method used is constructive theology by Gordon Dester Kaufman. The research result showed that hospitality contributes to the courage to destroy the dividing walls of tribes, races, religions, and groups. Meanwhile, with inspiration, imagination, sensation, and beauty principles, theopoetics can provide space for little voices and encouragement to carry out social transformation. Abstrak. Misi Pentakostal mewarisi cara ekspansi agama dalam menyampaikan Kabar Baik kepada umat manusia. Pemaksaan dan universalisasi doktrin kepada setiap suku, budaya, agama, dan golongan menjadi cara yang lumrah dilakukan. Konversi dari agama lain dan proselitasi dari aliran Kristen yang lain menjadi pencapaian dan ukuran keberhasilan misi. Artikel ini bertujuan untuk mengkaji makna otentik misi yang dapat mengubah paradigma konversi dan proselitasi sebagai keberhasilan misi. Penulis menggunakan perspektif hospitalitas dan teopoetik dari Gordon Dester Kaufman untuk mengonstruksi makna otentik misi Pentakostal. ­ Hasil penelitian menunjukkan bahwa hospitalitas berkontribusi bagi keberanian menghancurkan tembok pemisah suku, ras, agama, dan golongan. Sementara itu, dengan prinsip inspirasi, imajinasi, sensasi, dan keindahan, teopoetik mampu memberi ruang bagi suara minor dan dorongan untuk melakukan transformasi sosial.

This essay returns to a largely forgotten achievement of mid-twentieth-century philosophical theology, Richard Kroner's Culture and Faith (1951) and the "philosophy of faith" presented therein. It focuses on Kroner's idea of religious imagination as the inspired medium of revelation. It considers implications of this idea with regard to religious epistemology and theological language. In doing so, it puts Kroner in conversation with John Caputo, Iain McGilchrist, and Kroner's friend and colleague Paul Tillich. [ABSTRACT FROM AUTHOR]

This article addresses how Jewish food practices are an expression of Jewish theology. It addresses the question: how is Jewish food ‘God talk?’ and what forms does it take? Jewish dietary practices, the kosher laws, etc., are a kind of Jewish body-language. Attention is paid first to biblical and Rabbinic laws of kashrut (dietary laws), and then how they are ‘theological’. The biblical and post-biblical terms for clean and unclean animals are discussed, and the main principles of the kosher preparation of foods, namely the blood prohibition, the non-mixing of milk and meat, and kosher versus non-kosher wine. Also discussed are ‘kosher for Passover’, the kashrut of animal byproducts like milk and eggs, and of plant-based foods. All these expressions of kashrut suggest that making conscious distinctions (havdalot) is an implicit or explicit act of the imitation of God. In addition to the kosher laws, Jewish holiday foods and the typically Jewish ritual practices of eating, reading, and talking about food at the table, as in the Passover Seder, also embody and accentuate Jewish religious values. Particular attention is paid to sensory non-verbal communication through ‘Jewish flavour principles’ in the tastes and textures of symbolic and characteristic Jewish foods, and the ‘evaluative conditioning’ that occurs when ‘words of Torah’ are recited while eating them. Such practices evoke multisensory experiences, which are expressed in synesthetic metaphors of experiences of the Divine. The entry concludes that a Jewish theology of food is an embodied metaphorical theology, doing things with words and food as a kind of ‘culinary midrash’, a Jewish way of talking about and talking to God.

The benefits of a Christian theopoetics are today as necessary as they are problematic. Modern art and literature have in fact produced, in their own language, an extensive and reflective framework, in which pressing theological questions are embedded, albeit indirectly. In societies dominated for a long time by a Christian culture, and we speak of many centuries, there seems to be a growing need to think «like Christians», but outside the traditional theological repertoire, outside the box of doctrine, revisiting Christian principles and directions in a new and distinct repertoire, and in the sense of communicating as Christians without explicitly using a traditional Christian terminology, which places us in the field of a suggestive narrative creation, where we reframe theologically consecrated themes in the realm of theopoetics. The main issue, in our article, is to problematize the foundations of a Christian theopoetics, since Christianity was constituted as a specific and very powerful narrative linked to the Hebrew theological context: it was constituted as apocalyptic thought. Therefore, this article proposes an analysis of these foundations vis-à-vis the yearnings of a theo-poetics that questions and sometimes opposes a theo-logy. [ABSTRACT FROM AUTHOR]

Although critics have observed that Villa's poems use religious language and imagery, this has not been sufficiently explored. The article interprets the first set of seven comma poems that Villa published in 1948 as exemplifying his incarnational theopoetics in both form and content. In these poems, God or Christ is poetically, yet sometimes illogically, enmeshed with the created order. God assumes a body--not only the body of Man, but also the bodies of animals, machineries, and objects. This portrayal of God as embodied allows a deeper understanding of not only what Villa's conception of God is, but also how his conception of God relates to his poetics. [ABSTRACT FROM AUTHOR]

Richard Kearney offers a response to the Scriptorium on his work and its relation to the poetic imagination. [ABSTRACT FROM AUTHOR]

"Theopoetics" is a term that refers loosely to the aesthetic theories and poetics of using poetry to regain participatory access to the divine. Though the exact definition of theopoetics is somewhat contested, there seems to be overall agreement within the field defined by the term that it has something to do with recovering the experience of the presence of God as a poetic complement to theological rigor. What remains elusive, however, is a practical definition of theopoetical poetry: how would we recognize a theopoetical poem when we saw one? This article moves toward clarity on all three of these questions. [ABSTRACT FROM AUTHOR]

The objective of this study is to describe resonance as concept in a theopoetics of practice in practical theology. Resonance is the vibration that takes place when practitioners (1) sense a deep relation with practice, frequently at a pre-verbal level, (2) recognize the alterity of the other and are willing to be transformed by it, and (3) use poetics to redescribe a practice in which reality itself may appear as resonance. Resonance is exemplified in chaplaincy and lived religion. I conclude that resonance should be part of a theopoetics of practice in practical theology because it helps to sense the sacred and make sense of the sacred. [ABSTRACT FROM AUTHOR]

“Write yourself, Africa. Your history is a sealed chest awaiting your work. Look at yourself in the mirror of heaven, in the mirror of God. Picture yourself. Write yourself in true golden letters in the book of life” (Write yourself ). Nominated in 2005 for the Nobel Peace Prize, Mozambican Paulina Chiziane is the first woman to have a novel published in her country, and in her work she articulates an appeal for an Africa free from the colonialisms that still figure in its social, political, economic and even cultural structures. Her work can give not only a voice but a spirit to the claim for freedom of her people. In her first and recent poetry work The song of the slaves (2018), Chiziane calls on her people to unite their voices for a life that reveres the sacred experience of their culture, without the interferences and vilifications caused by the mystical and theological conceptions from European colonization. In dialogue with the concept of “an open-eyes mysticism” by Johann Baptist Metz, under the methodology of structural analogy, this article seeks to explore and demonstrate in Chiziane’s work, the African theopoetic richness from the most adequate and most neglected perspective throughout history, that is, the voice of the children of Africa. [ABSTRACT FROM AUTHOR]

This paper examines works in two of the major streams of thought in contemporary Continental philosophy of religion and theology—theopoetics and political theology—that loosely hang together by two shared threads: philosopher‐cum‐(radical)theologian John D. Caputo and the question of how to live well with the Other. After examining each book in turn, I weave their thoughts together showing how both theopoetics and radical political theology have the same shared aim. This aim is, namely, to deconstruct harmful and outdated narratives about God that have created unjust political systems and relations with other religions, to in turn continually 'make‐true' the democracy to‐come. [ABSTRACT FROM AUTHOR]

Chimamanda Ngozi Adichie’s novel Americanah provides provocative reflections on intertextuality and becoming by exploring the potentially transformative power of “blog-writing.” Through a combined reading of Mayra Rivera’s Poetics of the Flesh and Adichie’s Americanah, this article details intersections between the virtual and the material; writing in the (imagined “other-wordly”) blogosphere about the organic matter of hair. The narrator of the novel, Ifemelu, establishes a blog after she shares her story to decide to stop using relaxants and to allow her hair to be natural, via an online chat-room; she refuses to go through ritual performances in order to succeed as a migrant in America. In this article I argue that Adichie’s detailing of Ifemelu’s relationship with her hair explores the way in which creative practice, or poetics, is intimately connected to the journey of our flesh; social history is marked on our bodies. The blog becomes a confessional which details the demeaning effect that social constructions of race have had on her body. But the blog ultimately becomes self-destructive. It is only when Ifemelu returns to Nigeria that she embodies the transformative and cathartic power of contemporary modes of story-telling, and where she is finally able to “spin herself into being.”

Based on the works of Stanley Romaine Hopper, Amos Niven Wil-der and David LeRoy Miller, the article introduces the programmatic determinants of theopoetics: 1) our topology of being has changed; 2) the Western consciousness is being transformed; 3) what matters in interpretation is the psychic depth which achieves modalities of identification through the power of imagination; 4) our theo-logoi belong to the realm of mythopoetic expressions and, therefore, theo-logos is not theo-logical but theo-poetic. The article then points to the contribution of such a project (a renewal of interest for imagination, correction of Bultmann’s programme of demythologization and poststructuralist »closing« into the text, shift towards socially relevant theology, understanding of the body beyond the Cartesian dualism of res extensa – res cogitans, emphasizing the importance of doxology, thanksgiving, experience and the everyday). Finally, the article points out a needed correction of the theopoetics project by distinguishing between the biblical and poetic discourse.

After reviewing the recent publications of Richard Kearney, appearing between 2017 and 2021, including an anthology of his essential writings over his career, and covering topics such as hospitality, God, religion, anatheism, theopoetics, hermeneutics, and touch, there follows a critical engagement with Kearney's work, one that sets out in particular how, despite the very considerable overlap in our work, as fellow travelers in continental philosophy of religion and hermeneutics, our positions differ on what we mean by God and by welcoming the tout autre. [ABSTRACT FROM AUTHOR]

Theopoetics (radical God-talk) and the poems of I.L. de Villiers. Is a postmodern God-talk possible and can poetry be used to execute the question? The article focuses on whether the term theopoetics can be applied to the works of De Villiers and whether they are only theopoetry. The building blocks (the terms from which theopoetics originates) of theopoetics are explained. This entails poetic analysis, metaphor and all the forms of metaphor, narrative theology, postmodern philosophy (and postmodernity), social construct and narrative, imagination, people’s search for aesthetics (also literary aesthetics), as well as mysticism. One of the main questions in this article points to the possibility that theopoetics (radical postmodern God-talk) can be a mode of speech after the death of God and whether it provides a way to talk about God when metaphysics cannot speak of God anymore. Poetry and theopoetics are compared and a way is shown of how poetry can assist to speak about God. Meylahn’s proposed method was chosen to execute the research. Two poems that are to be read theopoetically are also presented in this article. Intradisciplinary and/or interdisciplinary implications: The article explores the possibility of postmodern God-talk within Practical Theology. The traditional discourses and/or views of metaphysics are being challenged through exploring the possibility of theopoetics and its contribution to postmetaphysical God-talk as a third – or middle – way to speak of God.

Urgency of the research. Theopoetics begins as a dialogue around the problems and challenges of modern society, namely how to find words that will reach a society that has experienced a crisis of faith and the shaking of the foundations of human values in the experience of world wars and other socio-political upheavals. Theopoetics is the desire to involve society in transformative meanings and to find new hopes where the logic and rationalist language of dogmatics have no power. Target setting. Theology, with this approach, becomes important as a platform for relations and the exchange of experiences, which recognizes certain linguistic conventions rather than fixed propositions about God. In addition, theopoetics opens the methodological ways for Ukrainian theology, hidden in the great heritage of national literature, where literature can meet theology and openly reveal its often hidden wealth. Actual scientific researches and issues analysis. The article studies the works of Amos Niven Wilder and Stanley Romaine Hopper, as well as the works of his student, in which attention was paid to the topic of theopoetics. The study was based on the research of Kellid Kitt-Perry in his work Way to Water: A Theopoetics Primer, which for the first time comprehensively, albeit briefly, describes the main philosophical and theological preconditions of theopoetics, as well as outlines the main theopoetic trends of the XX century. The research objective. The purpose of the study is to investigate the context and reasons (social, philosophical, theological) of the origin of theopoetic discourse, as well as to trace the peculiarity of theopoetic proposal in the light of its opposition to classical theology. Achieving the goal of this work requires outlining the historical, philosophical and theological changes in the origin and formation of theopoetics, as well as the implementation of philosophical and theological study of theopoetic approaches of S. Hopper and A. Wilder as a response to modern challenges. The statement of basic materials. Interpretations of biblical texts, with regard to the mythopoetic biblical worldview, can reveal greater social, political, cultural potential to find answers to challenges of modern society. Therefore, theopoetics becomes a desire to rethink traditional theology, which was able to hear everyone, and radically different one, where the building of confessional walls between church and society will become a platform for dialogue without fixed and ultimate truths available to knowledge or faith of individual denominations. But despite the solutions to the problems that theopoetics may offer, both Hopper and Wilder ask what tools can help us to work with such complex texts in order to obtain the most adequate interpretations, avoiding errors that only weaken Christian messages. Conclusions. For Hopper and Wilder, the understanding of theopoetics was consistent with mythopoetics, which sought not only to revive classical theology, but also to establish a connection with the new sensitivity of modern contexts, their images and cults, namely to bring theology closer to the problems of modern human: social, ethical, moral, racial, gender issues to which traditional theology could not find relevant answers. [ABSTRACT FROM AUTHOR]

Chimamanda Ngozi Adichie's novel Americanah provides provocative reflections on intertextuality and becoming by exploring the potentially transformative power of "blog-writing." Through a combined reading of Mayra Rivera's Poetics of the Flesh and Adichie's Americanah, this article details intersections between the virtual and the material; writing in the (imagined "other-wordly") blogosphere about the organic matter of hair. The narrator of the novel, Ifemelu, establishes a blog after she shares her story to decide to stop using relaxants and to allow her hair to be natural, via an online chat-room; she refuses to go through ritual performances in order to succeed as a migrant in America. In this article I argue that Adichie's detailing of Ifemelu's relationship with her hair explores the way in which creative practice, or poetics, is intimately connected to the journey of our flesh; social history is marked on our bodies. The blog becomes a confessional which details the demeaning effect that social constructions of race have had on her body. But the blog ultimately becomes self-destructive. It is only when Ifemelu returns to Nigeria that she embodies the transformative and cathartic power of contemporary modes of story-telling, and where she is finally able to "spin herself into being." [ABSTRACT FROM AUTHOR]

This article takes as its starting point Bruno Latour's reflections on the dereliction of theological discourse in contemporary culture. Acknowledging that theologians seek to avoid the question of how what "once had so much meaning [has] become absolutely meaningless," it frames its reflections around John 2:19 and seeks to develop a "theopoetics of the broken form" that is located in the ruins of faith. To do so, it employs creative resources from art and literature, as well as the author's own life writing. Although there is no escaping from the destruction of former secure habitations, this work attempts to embody the transforming encounters that are possible when God making takes place in broken places where life and death meet. [ABSTRACT FROM AUTHOR]

This article makes a case for the use of music in biblical interpretation and theological method. It places the hermeneutical approach to Scripture developed by Sandra Schneiders from the work of Gadamer and Ricoeur into dialogue with theopoetical approaches to theological thought. Musicologist Jean-Jacques Nattiez's method for analyzing musical meaning frames the analysis of an original piece of music, offered as a second naiveté, transformative interpretation of the Johannine narrative of the Samaritan woman in John 4:1–42. [ABSTRACT FROM AUTHOR]

This essay elaborates and engages a theopoetic reading mode to understand the function of lament in a selection of poems from the Crazy Women sections of Chilean Nobel laureate Gabriela Mistral's (1889-1957) Winepress (1954) and Winepress II (1991). This method of reading will reveal how engaging the spatial metaphor of the relationship between human and God contributes to their tone of lament. Mistral's poetry articulates the sensation of insurmountable distance from the divine and shifts between despair and hope. [ABSTRACT FROM AUTHOR]

This article examines the significance of contemporary work on biological mutualisms for Christian theological accounts of the doctrine of the Holy Spirit. Specifically, this article evaluates the possibility of constructing a "theopoetics of mutualism," where theopoetics marks the ongoing and creative making of God's relationship to creation, and lays the foundations for describing how the work of relating God and creation can occur within the bounds of "new materialist" accounts of agency and causality. [ABSTRACT FROM AUTHOR]

This article compares Jean-Luc Nancy and John Caputo's poetics of creation. Against the horizon of the death of God (or 'de-theologisation'), the issue of the world emerges for both, simultaneously reinforcing the need to think the event of its creation in an elaboration of Christianity's self-deconstruction. The article argues that, even though they differ in how they articulate their respective understandings of the event and of creation, they nevertheless accomplish a similar result: a thinking of the world in terms of the 'anarchy of creation', or the groundlessness associated with the event in which the world exists. Subsequently, it shows how both Nancy and Caputo suggest that the creative event in which both the world and God exist can only be brought to words poetically—in a discourse on the creative forms in which this event takes shape or is made sense of—and follows Caputo in his conclusion that this means that theology must become theopoetics: a consideration of how the creative imagination allows us to do the im-possible, to see that possibility does not coincide with actuality, to imagine the world otherwise, as the kingdom that is coming. [ABSTRACT FROM AUTHOR]

The theological turn in continental philosophy has beckoned several new possibilities for theoretical discourse. More recently, the question of the absence of a political theology has been raised: Can an ethics of alterity offer a more substantive politics? In pursuing this question, the article considers the late work of Jacques Derrida and John D. Caputo. It argues that, contrary to caricatures of Caputo's "theology of event," his notion of theopoetics evinces a "materialist turn" in his mature thought that can be considered the beginning of a "radical political theology." This position is not without its challenges, however, raising concerns over deconstruction's ability to navigate the immanent but necessary dangers of politics. In order to attempt to speak of a form of "radical political theology"-- i.e. a movement from theopoetics to theopraxis--the article turns to some of the political writing of Simon Critchley. It is argued that a much desired "political viscerality" for a radical political theology is supplied by Critchley's anarchic realism. The latter is neither conceived as utopian nor defeatist, but as a sustained program of inventive and creative political interventions, which act as responses to the singularity of the situation. [ABSTRACT FROM AUTHOR]

The Church of Jesus Christ of Latter-day Saints possesses a subversive and fecund interpretation of the Christian creation narrative. This interpretation, denying creation ex nihilo, bespeaks a particular attention to and care for the living earth. However, Latter-day Saint praxis is wounded by a searing disconnect between the theopoetics of its conceptual creation and its lived practice. I argue that the Church must understand this disconnect as a wound and attend to it as such. I turn to theopoetics, arguing that it is in the lived practices of Latter-day Saints engaging somatically with the Earth that can restore our imaginative potential and move toward healing. I begin by exploring the Christian conception of creation ex nihilo and juxtapose this with the Latter-day Saint understanding of formareex materia. I then explore the implications of such a cosmology for environmental ethics and probe the disconnections between theory and practice in Mormonism broadly construed. I propose that the healing salve for disconnection is imagination, a salve found in the first heartbeat of the Latter-day Saint story. I speak with Latter-day Saint theopoetics and indigenous voices, proposing ultimately that is with them that the healing of theology and praxis must begin.

Theopoetics is a diverse movement in which many contrasting understanding of poetics, and the sacred, are articulated. Although there is no essence or core to the theopoetic project, theopoetic practitioners appear willing to sustain a common space for conversation and their work displays a common celebration of creative ways for reimagining the divine. However, creativity itself is rarely interrogated within theopoetics. Nor is the ambiguity of creative making addressed. This article explores this significant but neglected topic in an attempt to generate further theopoetic reflection on the ambivalence of creativity in relation to both human and divine 'making'. Starting with conversations between Richard Kearney and Catherine Keller, discussions are extended through an engagement with Siri Hustvedt's works of art criticism and her novel The Blazing World. Through Husdtvedt's representations of 'the woman artist' we are encouraged to move beyond hygienic understandings of creativity and acknowledge the ethical and theological ambiguity of this key concept within theopoetics. [ABSTRACT FROM AUTHOR]

In the midst of the Anthropocene, what might it mean to have hope? This article intends not to 'answer' such a question, but instead sketch possibilities for an alternative, cloudier, indeed livable understanding of 'hope'. As an exercise in theopoetics, this piece offers the concept of 'dark hope' as a viable symbol for the purpose of eco-activisms—entangled, intersectional. To achieve a blurred illustration of this vision of 'dark hope', this article will trace relations between Karmen MacKendrick's work on the haunting affects of memory, Paul Tillich's confrontation with 'non-being', and queer visions of possible, and ever troubling, futures on a rapidly shifting planet. If nothing else, this project strives toward an understanding of hope that can stand up to the woes of anthropogenic climate change, that can be practiced in the face of disaster, that can be lived even in the midst of ruins. [ABSTRACT FROM AUTHOR]

This piece charts the author's journey to theopoetics through the work of John Scotus Eriugena. Focusing on the key role played by Celtic mysticism in the development of a panentheist vision of things, the essay offers a poetical and ecological approach to our philosophical rethinking of divinity, nature and creation. It concludes with a tribute to the hilarious notion of a 'running God'. [ABSTRACT FROM AUTHOR]

Growing research in trauma focuses on working trauma out of the body. This 'somatic turn' can minimise the role that narrative plays in healing. This piece imagines a coordination between writing, words, and the senses that is in line with the wisdom of longstanding religious traditions. It proposes that theopoetics positions us to release the negative grip of words while creating, through words, new paths of meaning. [ABSTRACT FROM AUTHOR]

Theopoetics represents a reinterpretation of theology which relieves it of its supernaturalism and thereby allows theology to adopt its proper discursive mode and find its proper truth. In theopoetics, the classical distinction between the natural light of reason and the supernatural light of revelation is reinterpreted as a distinction between a prosaic discourse and a poetic one. In the language of phenomenology, a theopoetics is made possible by an epoche which suspends the supernatural attitude in order to allow us to adopt the theopoetic attitude, by a reduction of the supernaturalism in theology which leads us back (reducere) to the matter itself (die Sache selbst) of theology, which is the poetics. The poetics is an alternate discourse which brings to words the lived experience of the call by which we are addressed in the narratives and songs, the figures and the forms of theology's founding texts. The reduction releases these texts from the grip of supernatural assumptions by which they are mystified and distorted. It releases the proper power of these images and narratives, which is not magical or supernatural, but strictly, rigourously theopoetic. [ABSTRACT FROM AUTHOR]

This article connects the work of contemporary poet, Marie Howe (1950–) to a lineage of American writing dedicated to and founded on 'the ordinary'. Beginning with Emerson and the transcendentalists, the argument is made that a largely Protestant tradition of American poetry and theology runs from Emerson and Whitman, through Elizabeth Bishop and Wallace Stevens, to Marilynne Robinson. Having established a distinctly American and specifically Protestant tradition of writing sourced from the mundane and the particular, it is shown how Marie Howe's poetry is in dialogue with this lineage, particularly in her overtly theological third collection, The Kingdom of Ordinary Time (2008). The article concludes with a close reading of Howe's poem 'The Teacher' from Magdalene (2017) and demonstrates how Howe ultimately disrupts the Emersonian tradition through her metaphor-less poetry. Using the Lord's Supper as a motif, it is shown how Howe's poetry opts for a Catholic approach to symbol, metaphor and transcendence, diverging theologically from Emerson, Stevens and Robinson's expectations of 'the ordinary'. [ABSTRACT FROM AUTHOR]

Even as theopoetics turns to literary structures and grammatology to arbitrate between an Absolute and Absolute meaninglessness, John Caputo and David Miller are careful to separate its project from theopoetry's representations of God. But this division makes little provision for figures like Denise Levertov, whose work suggests that the religious question is an inherently aesthetic one, that this arbitration can happen through representation. This article reads Levertov's 'The Tide' in order to define a mode of signification unbound to spiritual fixity. Through its characterisation of both form and faith as process, 'The Tide' offers a new way of negotiating the relationship between literature and theology. [ABSTRACT FROM AUTHOR]

This article articulates a challenge to discern what form theopoetics might take within practical theology and, further, to engage with the construction of modes of theopoetic making appropriate to the discipline. To date there has been little conceptual engagement with theopoetics by practical theologians. In order to begin to address this lack Catherine Keller's work is taken as indicative of the potential significance of this project. An examination of theopoetics within constructive theology highlights the necessity for practical theologians to create their own distinctive forms of theopoetical reflection honouring their disciplinary heritage. It is suggested that a 'theopoetics of practice' might be created in the manner of a bricolage from neglected cultural resources. The work embodies in its writing style the creative work it advocates. [ABSTRACT FROM AUTHOR]

This article responds to Heather Walton's impassioned call to form and reform practical theology via bricolage in the creative arts. It illustrates the epiphanic role of the visual art of Käthe Kollwitz (1867–1945) in transforming suffering. Following a brief outline of Kollwitz's life, the paper explores the theopoetic power of her art in relation to practical theodicy: in terms of its social activist dynamics, deeply compassionate context, sanctifying and consoling powers, and numinous-mystical affections. [ABSTRACT FROM AUTHOR]

This paper is a response to Heather Walton's 2017 Presidential Address to the International Academy of Practical Theology, "A Theopoetics of Practice – Re-forming in Practical Theology." It explores a key question raised by Walton: "If we were to construct a way of imagining a theopoetics of practical theology, what would it look like?" The paper critiques systematic and speculative thinking, reflects on Holy Saturday, and offers a poetic reflection on creation and natural love. [ABSTRACT FROM AUTHOR]

The article is a response to Heather Walton's IAPT presidential address titled "A Theopoetics of Practice – Re-forming in Practical Theology." Practices examined in this article are rituals and caring related to death and dying in literature. By making use of Ronald Grimes' so-called fictive ritual the portrayal of rituals and caring in novels by the Afrikaans novelist Karel Schoeman are examined. As a response to Walton's address, a theopoetics is developed from the ars moriendi in the work of Schoeman. [ABSTRACT FROM AUTHOR]

The present study analyses the poem Ó Šebestiáne (Oh, Sebastian) by Jan Zahradníček, included in his collection Rouška Veroničina (Veronica's Veil) (1949). These poems are seen particularly as a way to represent the general approaches typical of Zahradníček's work in the latter half of the 1940s. In particular, the exposition is presented both from the anthropoetic and the theopoetic standpoint. This treatment of the poet's anthropoetics does not just indicate that artistic creation in general and poetry in particular have a biological-anthropological basis, affecting aesthetic and social ties, but that literature and poetry are something of quite fundamental significance to man, in certain circumstances of vital importance to his survival, affecting him in extraordinary ways. This anthropoetical aspect is thematized both implicitly and explicitly in Zahradníček's poetry, as one of its driving forces and very prominently as a subject of poetic reflection. The initial anthropoetical and theopoetical framework of the exposition is also developed with an interpretationally-based poetological analysis of various poetic devices utilized in original ways by Jan Zahradníček. This particularly requires an outline of the way he worked with free verse, which becomes a dominant feature in his poetry in the late 1940s and the early 1950s, as well as his rhythmic and semantic organization, an analysis of the strophic composition of his poetry and an analysis of his usage of such devices as punctuation and the like. [ABSTRACT FROM AUTHOR]