My last post on reading Barth received so much traffic that I thought I would post another section from the little “primer” I put together for students in senior seminar. These four are meant to give readers of Barth useful “handles” on his thought, like tips for catching the musical tendencies of a great composer:
1. Music – The flow of Barth’s theology is often likened to music, “the announcement of a theme, and its further extension in a long series of developments and recapitulations, through which the reader is invited to consider the theme from a number of different angles and in a number of different relations. No one stage of the argument is definitive; rather, it is the whole which conveys the substance of what he has to say” (J. Webster, Barth, 13).
George Hunsinger expands on the point: “What first appears like repetition turns out on closer inspection to function rather like repetition in sonata form. It is [Barth’s] method of alluding to themes previously developed while constantly enriching the score with new ideas. . . . The more one reads Barth, the more one senses that his use of repetition is never pointless. Rather, it serves as a principle of organization and development within an ever forward spiraling theological whole” (G. Hunsinger, How to Read Karl Barth, 28).
The first section of CD IV.1 (pp. 1-19) is a great example. Barth begins by describing the center of the Christian gospel as “God with us” (pp. 1-4), then builds, expands, develops this throughout the next 19 pages. It culminates on p. 14 with Barth’s assertion that “God with us” concretely means “Jesus Christ.”
2. Orbit – It has been my sense that, similar to the musical metaphor, following Barth’s thought is often like tracking something that orbits around a center. Whatever the “center” might be for Barth at the moment of reading, his thought will orbit that center. The result, for the reader, is that the center can be viewed from a great many different angles or perspectives, but they must always be attentive and aware of the center around which the orbit is set.
3. Dialectic — Continue reading