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This paper argues that human uniqueness, as articulated through the imago Dei, needs to be grounded in a particular view of the Holy Spirit’s presence to humanity if it is going to be successful maintained as a Christian doctrine. Part One deals with the status questionis in theology of religions, Part Two discusses three tradition-specific approaches, and Part Three brings together meta-reflections on the similarities and differences between these three cases. Our dissertation consists of seven chapters in three parts.

What makes this interesting for our research question, is that all three authors must defend how their position does justice to their theological and ecclesial tradition.

In a simplistic conservative-liberal analysis, we could say that D’Costa has moved to a more conservative position than the mainstream of his tradition, whilst McDermott and Yong take positions that are considered to be more liberal within Evangelicalism. All three of them have legitimation issues with respect to the majority opinion amongst theologians in their tradition, although we are aware that theological legitimation takes on a different form in Roman Catholicism than in Evangelicalism. In the course of this dissertation the Roman Catholic approach of Gavin D’Costa is studied and compared with that of two Evangelical theologians (Gerald McDermott and Amos Yong). We further want to show what a tradition-specific approach means in terms of the use of sources and authorities from one’s tradition, its major theological themes and its dialogical implications. Ultimately, this article demonstrates Anthropocene stakes for early modern music studies and foregrounds the colonial underpinnings and contemporary racial asymmetries of ecological precarity as urgent questions for musicology’s emerging engagement with the Anthropocene.The goal of our dissertation is, first of all, to answer the question whether a tradition-specific approach to theology of religions can issue in a coherent theology of interreligious dialogue. Recognizing how the lethality of colonization shaped the Anthropocene confronts the time of musical history with geological time, centering Anthropocene climate change as a background analytical framework for music seemingly far-removed from familiar ecomusicological themes. Accordingly, I develop Anthropocenic recontextualizations of Purcell’s Indian Queen (1695), eighteenth- and nineteenth-century musical and ethnographic representations of Native American “death songs,” and two practices of Indigenous resurgence via song: psalmody and Ghost Dance ceremonies. The Orbis Spike proposal challenges musicological inquiry into the Anthropocene to be not only ecologically and musicologically sensitive, but also decolonial, antiracist, and critical of global capitalism. In 1610, this reforestation triggered carbon dioxide sequestration and a planetary low point of CO 2, a climatic signal that geologists call the “Orbis Spike.” I explore how colonization’s Orbis Spike alters the historiographical horizons for approaching musical and aural documents of the early modern to nineteenth-century Atlantic. Colonial decimation of Indigenous communities in Central and South America led to land abandonment and a reforestation event. This article considers musicological consequences of recent proposals by climate researchers to date the beginning of the Anthropocene-the geological epoch in which human activities define the Earth system-to the period immediately following New World colonization.