This thesis challenges Classical Christian presentations of God based on exclusive and literalized metaphors. This piece explores the response of three dissenting groups, who place their emphasis on an experiential theology, directly challenging the use of conventional language to describe God. The Quaker practice of silent worship, Isadora Duncan’s dance form and Theopoetics each demand that religious structures enable an experience of the Divine that is spontaneous, mysterious and deeply personal.

Violent traumatic events impact communities and demand ministerial responses that are not only pastoral in nature but also prophetic, challenging institutional and sociocultural roots of violence through vision and analysis. There is a noticeable gap in qualitative studies of the prophetic pastoral practices of organized trauma response ministries in addressing violence. This dissertation addresses this gap through qualitative case studies of two trauma response ministries operating in diverse cultural contexts. The dissertation forges a beginning constructive practical theology of trauma from the voices, experiences, and practices of survivors and their trauma response ministry providers, lifting up the need for an intercultural approach and examining the results for untapped theological resources for constructive practical theologies of trauma. By integrating trauma studies into lived religion approaches, this dissertation conceptualizes survivors' use of material objects, rituals, and surroundings to enact a 'theopoetics of material religion.' This theopoetics captures the constructive theological significance of survivors' use of material objects, rituals, and surroundings for prophetic and performative testimony and witness. The introduction and chapter one make the case that addressing the problem of violent trauma in the American context calls for an approach rooted in prophetic pastoral care practices, one that is attentive to the particular contextual realities and resources of communities living in the aftermath of trauma. Using a lived religion methodological approach enhanced by trauma studies and a theopoetics of material religion, chapter two presents a case study of an inner-city lay-led trauma response ministry that serves family survivors of homicide. Chapter three presents a case study of a denominational-based trauma response ministry's services to a suburban congregation following a gun assault. Chapter four illustrates the theological themes witnessed in each case study and places these in intercultural dialogue. The final chapter engages current constructive theologies of trauma and brings the insights of the case studies to bear on interpretations of theology in the aftermath of trauma. The dissertation begins to forge of a constructive practical theology of trauma and concludes with strategic recommendations for constructive practical theologians, pastoral care providers, and social and ecclesial structures.

In this doctoral dissertation I examine the development of Kierkegaard's sense of vocation as a Christian creative artist by research into his journals and published works, as well as investigating how this was influenced by his scriptural hermeneutic. I then attempt to sketch some starting points for a theology of Christian creative artwork contextualised within modern theological aesthetics by drawing upon this examination. I argue that Kierkegaard began writing without documented reflection on his intentions and communicative methodology, but was nonetheless a religious author from the start of his career, as his text The Point of View for my Work as an Author later claimed. I trace how he began with a more "indirect" approach in his writing and gradually developed a theory of "indirect communication", though there were more "direct" elements present in his work from the beginning (the "first authorship"), yet as he continued in his authorial career he became ever more "direct" in his mode of communication (the "second authorship"), until it eventually became exclusively more "direct" religious writing (the "attack on Christendom"). I conclude that the most concise and complete formulation of Kierkegaard's mature conception of his task as a Christian artist becomes "to communicate Christianity in Christendom" in a more direct mode-to explain straightforwardly what authentic Christianity is in an age of cultural, purely nominal religion. I allow that this task is in some ways unique to his own historical situation but contend nonetheless that a consideration of it is profitable for contemporary theology because of the many different ways that he attempted to carry it out. In Kierkegaardian terms, and following on from resources in Kierkegaard and his use of scripture, I argue constructively from all of this that more "direct" communication is the more valuable form of communication to the Christian creative artist for theological reasons, but that more "indirect" communication can still be useful, in the task of communicating creatively through art.

<p>This paper presents Theopoetics, a theo-philosophical aesthetic movement that arose from the 1960’s Death of God theology, as a hermeneutical framework that accounts for both embodiment and the numinous in poetry. Through an examination of the life and poetic works of the disenfranchised religious poet, Thomas Merton, and a more religiously nebulous poet, Denise Levertov. This paper will present two different perspectives from these poets who encountered the need to qualify the numinous in their poetry and subverted that qualification through a theopoetic process. </p>