Since the middle of the last century, the emergence and development of fields as diverse as artificial intelligence, evolutionary science, cognitive linguistics, and neuroscience have led to a greater understanding of the ways in which humans think. One of the major discoveries involves what researchers refer to as conceptual mapping. According to theories of conceptual mapping, human thought is profoundly shaped by the ability to make connections. Simply put, human thinking is metaphorical all the way down. This insight has revolutionized the way in which scientists and philosophers think about the mind/body problem, the formation and function of language, and even the development of scientific progress itself. Until recently however, this research has gone largely unnoticed within Christian theology. But this revolution in understanding human cognition calls for broader and richer engagement with theology and religious studies: How does this new insight into human meaning-making bear on our understanding of religious meaning-making? And how might Christian theology interpret and respond to this new understanding of the development of human thought? This edited volume offers an introduction to conceptual mapping that is accessible to those with no previous knowledge of the field, and demonstrates the substantial resources this interdisciplinary research has for thinking about a variety of theological questions. The book begins with a chapter introducing the reader to the basics of conceptual mapping. The remaining chapters apply these insights to a variety of theological topics including anthropology, sacramental theology, biblical studies, ecumenical theology, and ethics.

The two-fold task of A Symphony of Distances is to provide an overview of Hans Urs von Balthasar's use of distance imagery with regard to personal distinctions in the Holy Trinity and to offer a critical analysis of him as a modern Catholic theologian. A metaphor of "distance" integrates all of Balthasar's theological thought as a primary cipher for the many symbols through which he reads the Christian theological tradition in a trinitarian and eschatological mode. The book follows a chronological, four-stage development of Balthasar's trinitarianism through the lens of this distance metaphor as it occurs across representative texts. The critical analysis employs the conceit of a symphony of four musical movements that correspond to four varieties of theological distance. These distances show certain correspondences of God's creation and redemption of the world-marked by the first two "distances"-with the relations of the divine persons to each other in the economy of salvation and in the eternal Trinity itself-marked by the third and fourth distances. "Listening" to the four movements of Balthasar's theological distances enables his readers to "hear" the themes of all four movements in the ascending order of richness, complexity, and inclusivity over the long development of his thought. This fundamentally positive approach of A Symphony of Distances allows for a thorough critique of the internal consistency of Balthasar's applied method, of the controversial use of gendered trinitarian notions in his speculations on divine pathos, and of his adequacy to the tasks of modern theology. The final judgment is that Balthasar's theology of distance can be accepted, with reservations, as a positive element of his contribution to contemporary trinitarian theology. The book can thus serve as a critical reference for readers who find Balthasar's notion of trinitarian distance, and indeed his trinitarianism as a whole, to be compelling, confusing, or frustrating.