This article looks the derivation of George Grant's "second" primal of Jerusalem in his critique of modernity presented in his doctoral dissertation on John Oman. In particular, it asks whether his theologia crucis, the presence of an offsetting "Otherness" to human self-interest and perspective, is consistent with both its Protestant origins and theological employment, or whether it is infected by that against which he wishes to vaccinate—modernity itself. In exploring this question, the motivations for Grant's refusal to interact with Karl Barth and neo-orthodoxy are also analyzed.
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