Explore our collection of theological essays, biblical studies, and reflections on faith and culture.
Every attempt to understand the Christian sacraments makes use of comparisons or analogies with other rituals, events, or customs. Calvin and those who followed him, for example, spoke of the sacraments as “seals,” and compared them to the “seal of approval” that an official impresses on a document. Thinking about…
Eugen Rosenstock-Huessy has pointed out in his essay "Hitler and Israel, or On Prayer" (available for $2.00 from Biblical Horizons ) that it is God’s word "No!" that establishes in a culture the distinction between the Creator and the creature. The Bible repeatedly says "No!" to every human attempt to…
If you missed Gattaca at the movie theaters, you can probably check it out from your local video store now. And you should. This is one of those relatively rare thought-provoking movies that can stand being watched with brain in gear more than once. It is also poetic, sensitive, visually…
Part 4: The Nephilim Factor Western Civilization partakes of what I call "the Nephilim Factor." The Enoch Factor means that the pagans get there first. This is both a blessing and a danger. As a blessing, it means that they work out techniques of dominion over the lower creation that…
The Worship Service Then the one speaking with me took me by the hair and lifted me into the air in the middle of the great room. And as I watched, I saw people entering the room to the sound of the great bells outside. Then entered from all four…
Part 3: Philosophy (continued) If we realize that human beings are the images of God, and that man hates God, then we realize that all non-Christian political philosophy is founded on a fundamental hatred of other human beings, a hatred manifest in contempt. Rome, like Enoch, was founded on the…
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Ibsen, Steiner argues, did not write tragedies. Ibsen wrote “dramatic rhetoric” calling society to reform. For real tragedy, there is no such “solution” to be found, there is no remedy, except destructive sacrifice and perhaps a deus ex machina. From this angle, tragedy is perhaps among the STOICHEIA that prepared…
Some more quotations from Steiner’s Death of Tragedy : “We cannot understand the romantic movement if we do not perceive at the heart of it the impulse toward drama . . . . The romantic mode is neither an ordering nor a criticism of life; it is a dramatization. And…
Some thoughts on NT Wright’s Rutherford House Lecture, August 2003. I have little disagreement with much of the lecture, and it clarified a number of things for me. Wright’s views on justification, however, continue to puzzle me at a number of points. Here’s an attempt to clarify my (or NTW’s)…
Some thoughts on NT Wright’s Rutherford House Lecture, August 2003. I have little disagreement with much of the lecture, and it clarified a number of things for me. Wright’s views on justification, however, continue to puzzle me at a number of points. Here’s an attempt to clarify my (or NTW’s)…
Steiner notes that, following the Renaissance, European drama operated under the shadows of neo-classical and Elizabethan dramatic practice, the former “closed” and rigidly adhering to Aristotelian criteria, the other open and experimental. He discusses the theory of Thomas Rymer (a neo-classicist) at some length, concluding that the controversies that Rymer…
George Steiner in his Death of Tragedy describes the “Shakespearean difference” as mainly due to Shakespeare’s avoidance of fascination with Hellenic models: “The neo-classic view [which rigidified Aristotelian conceptions of tragedy] expresses a growing perception of the miracle of Greek drama. This perception was fragmentary. There were few translations of…
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