This remarkable work offers an analytical exploration of the nature of divine eternity and God's relationship to time.

Temporality and Trinity argues that there is deep homology between the roles of temporal problematic in Augustine’s On Trinity and Heidegger’s Being and Time. Although Heidegger was aware of On Trinity, the claim is not that he writes under its influence. Rather, Manchester moves from the temporal problematic of Being and Time to the psychological explication of the human image of God in On Trinity, schematized as memory, understanding, and will. Formal and phenomenological parallels allow interpretation of that psychological triad as a temporal problematic in the manner of Being and Time. In a sense, this is to read Augustine as influenced by Heidegger. But the aim is more constructive than that. Establishing a link between trinitarian theology and Being and Time opens a more direct way of benefiting from it in theology than Heidegger’s own assumptions. It puts philosophy in a position to confront New Testament theology directly, in its own historicality, without digression into anything like philosophy of religion.

Editor Gregory Ganssle calls on four Christian philosophers to present and defend their views on the place of God in a time-bound universe. The positions taken up here include divine timeless eternity, eternity as relative timelessness, timelessness and omnitemporality, and unqualified divine temporality.

In this highly original and ground-breaking work, the author brings together discussions in the philosophy of time and space, philosophy of language, phenomenology, philosophy of science, Special and General Relativity, classical cosmology, quantum mechanics, and so forth, with the concerns of philosophy of religion and theology, in order to craft a philosophically informed and scientifically tenable doctrine of divine eternity and God's relationship to time.

Is time a creation of God? How can God be considered eternal, if he is responsible for the existence of time? Is God temporal or is he timeless? The relationship between God and time has been an object of inquiry in philosophical and theological traditions around the world for centuries. This volume takes up these and other questions, presenting a range of answers not only as brought forth in European philosophical traditions and in early Christianity, Judaism and Islam, but also positions taken by mediaeval Indian theologians and in the influential traditions of early Buddhism. Traditionally, discussions have focused on questions such as whether time is a necessary concomitant of God’s existence, or whether time should be identified with God. But there is a further question: did these traditions develop their own unrelated and independent view of God and time? Or are there similarities in their reflections? This volume, with contributions of scholars from various relevant fields, offers a novel approach to these inquiries. When taken as a whole, it provides new momentum to contemplation on an age-old enigma.

Eternal God offers a powerful defence of the view that God exists in timeless eternity. This classical Christian view is claimed by many theologians and philosophers to be incoherent but Helm rebuts this charge.

Icons in Time, Persons in Eternity presents a critical, interdisciplinary examination of contemporary theological and philosophical studies of the Christian image and redefines this within the Orthodox tradition by exploring the ontological and aesthetic implications of Orthodox ascetic and mystical theology. It finds Modernist interest in the aesthetic peculiarity of icons significant, and essential for re-evaluating their relationship to non-representational art. Drawing on classical Greek art criticism, Byzantine ekphraseis and hymnography, and the theologies of St. Maximus the Confessor, St. Symeon the New Theologian and St. Gregory Palamas, the author argues that the ancient Greek concept of enargeia best conveys the expression of theophany and theosis in art. The qualities that define enargeia - inherent liveliness, expressive autonomy and self-subsisting form - are identified in exemplary Greek and Russian icons and considered in the context of the hesychastic theology that lies at the heart of Orthodox Christianity. An Orthodox aesthetics is thus outlined that recognizes the transcendent being of art and is open to dialogue with diverse pictorial and iconographic traditions. An examination of Ch’an (Zen) art theory and a comparison of icons with paintings by Wassily Kandinsky, Pablo Picasso, Mark Rothko and Marc Chagall, and by Japanese artists influenced by Zen Buddhism, reveal intriguing points of convergence and difference. The reader will find in these pages reasons to reconcile Modernism with the Christian image and Orthodox tradition with creative form in art.