This chapter raises the problematic of mediation as illustrated through the schema of a finite seashell trying to capture an infinite ocean. After providing a provisional definition of “mediation,” I lay out my central approach to a solution: to shed light on how such mediation can work in general by exploring how it works in the particular case of the Eastern Christian icon.

This chapter surveys art history, patristic theology, and modern Orthodox theology to identify a starting point that can address the mediating function of the icon. However, each of these approaches is also marked by limitations that ultimately leave them unable to sufficiently address two questions that are essential to this inquiry: (a) What is a painted image, and how does it mediate the truth of what it shows by its specific, finite capacities and aesthetic devices? (b) What would it mean for God to “show himself,” or what kind of “visibility” would God have? I make a case that phenomenology will be a powerful tool to address both questions.

With their Billboard chart-topping albums and sold-out stadium concerts around the globe, BTS today is the biggest success story of international K-pop. The unprecedented success of BTS challenges the understanding and study of K-pop, as it simultaneously reinforces previously existing perspectives while demanding several new ones. This chapter traces the career of BTS, surveying the historical implications of their rise to the dramatic change in the landscape of music consumption in the era of new media. Rather than depending on music industry insiders or media gatekeepers, the pop stars of the internet era form a strong and direct connection with their fans. ARMY, BTS’s global fandom, is emblematic of this change. ARMY fans do not merely buy albums or generate publicity for their stars; they open new fronts in the discourse and creative derivative work centered around BTS, further fueling the group’s worldwide success. In the US mainstream pop music market dominated by US and UK acts, these shifts in defining BTS’s success demand reconsideration of the future possibilities of Asian stars.

In Chapter 6, I introduce hermeneutic phenomenology as a philosophical method relating to the description and interpretative analysis of experience. French phenomenology has become a dialogue partner for theology and religion because of its capacity to accommodate what might be given without appearing as such. For Marion, this opens the possibility of recognising phenomena that signify in excess of or counter to experience, including phenomena of r/Revelation. After sketching Marion's typology of saturated phenomena and considering some of the criticism that has emerged in response, I observe his deepening insight that the phenomenality of the event characterises each of the counter-experiences he describes, and so has a particular importance. If what exceeds intentionality is described in terms of the event rather than as a phenomenon of revelation, we avoid the difficulties of the r/Revelation distinction that Marion draws, and decrease the sense that revelation is being smuggled into phenomenology. I also note that the event is a figure used more broadly in contemporary thought and so enables us to connect Marion’s work with that of others in potentially fruitful dialogue.

This chapter begins with a sermon from the 1530s that describes the iconoclastic practice of giving formerly sacred objects to children, in order to desacralise them. It shows that this was a widespread activity during the Reformation, and relates this practice of iconoclastic child’s play to the common polemical tactic of comparing traditional Roman Catholic religion to the inane playing of children. It then argues, however, that the actual transformation of such objects into playthings is more complex than this polemical elision, and shows that, when related to broader Christian traditions, the implicit claim that playing with an object is necessarily to demean it becomes far less clear. Play could be a way of accessing or reflecting the divine, not trivialising it. The object of iconoclastic child’s play, suspended between idol and doll, does not therefore clearly lack value, but becomes a potent and unstable object upon which competing conceptions and valuations converge, and within which they can co-exist.

Chapter 3 examines the creation of the image of God, pointing to the significance of the materiality and visibility of the image when compared with the invisibility of angels. This relates to how Gregory depicts the image of God as divine. Due to his narration of how God mixes the spiritual image with the dust, we shall see that Gregory portrays the image and the dust as becoming a unity, and thus a single, living human person. Drawing from Genesis 1, Gregory argues explicitly that God creates women and men equally as images of God; moreover he writes about the female image in a manner which demonstrates further his view of the image quite literally as a physical, living and divine image of God.

Chapter 1 begins with a discussion of Gregory’s hermeneutics, arguing that Gregory interprets the whole biblical narrative in light of Christ and the salvation story. We move on to establish the predominant biblical themes which feed into Gregory’s multifaceted account of the image of God. These include beliefs about the divine presence manifested through images and idols; ethics; and an interesting thread which concerns the spiritual warfare between the image of God and powers of opposition, of which ‘the devil’ is common epithet used by Gregory.