Doctrine as Temporal and Doctrine as Drama

In chapter 4 of The Hermeneutics of Doctrine , Thiselton explores the nature of doctrine as temporal and doctrine as drama (here, ‘temporal’ does not mean temporary, but rather it refers to the sense of temporality that is embedded within doctrine, i.e. the recognition that ‘God interacts with the world through actions marked by purpose, duration, periodicity, tempo, and eventfulness’ (p.64, emphasis his). In another words, meaning and truth are not “timeless” in relation to God). Thiselton states:

“Doctrines evolve often by responding to new challenges, [..] or in the context of changing languages or situations. But they also assume a living, dynamic, ongoing form, because God is the living, dynamic, ongoing God. If doctrine reflects the nature of God and derives ultimately from God, doctrine will be no less “living” and related to temporality than God, who acts in human history.

[...] The particularity, contingency, and temporality of hermeneutical inquiry remain not only appropriate but also necessary for exploring the truth-claims, meaning, and life-related dimensions of Christian doctrine. To say that doctrine is derived ultimately from God, far from suggesting that doctrine inhabits an abstract, timeless, conceptually pure domain, underlines the temporal and narrative character of its subject matter.” (p.63, emphasis his)

This sets the stage for Thiselton to go on exploring the concept of doctrine as narrative or drama. Borrowing from Ricoeur, Thiselton suggests that the coherence and continuity of narrative (or in this case, drama) depends on the three functions of expectation, attention, and memory. “Christian doctrine relates closely to memory of God’s saving acts in history; attention to God’s present action in continuity with those saving acts; and trustful expectation of an eschatological fulfilment of divine promise.” (p.65, emphasis mine) Hence, the appropriateness of the drama metaphor as a way of capturing the nature and effects of doctrine.

The following quote where Thiselton shares the similar viewpoints between himself and Vanhoozer captures the appropriateness of doctrine as drama:

“We share a common concern about the importance of doctrine and its current tragic neglect or apparent inability to inspire; a common emphasis on doctrine as practices of life, also expressed in worship; a common conviction about the foundations of the biblical writings defined in terms of canon, but also its continuity with an ongoing, developing tradition; a common belief that covenantal promise stands at the heart of divine communicative action and Christian theology, and that this grounds the currency of divine speech-action in the world; a common understanding of doctrine as formation that generates habits that generate performance; and the temporal logic of narrative embodying a coherent plot. The application of the term drama allows the dynamic and tensive nature of doctrine to remain prominently in view.” (p.77, emphasis mine)

A mouthful there... but good stuff!