Explore our collection of theological essays, biblical studies, and reflections on faith and culture.
I live in an area where Mardi Gras is in full swing, and I can remember from my upbringing that Fat Tuesday was a last ditch effort at debauchery before the pseudo-spiritual practice of “giving something up for Lent” really began. In my youth I would give up some kind…
Part 1: Observations from the Texts (Matthew 9:14-17, Mark 2:18-22, Luke 5:33-39) The precipitating context for the new wine/old wineskins discussion is people asking Jesus why His disciples did not fast. His immediate answer is that you can’t get the friends of the groom to fast at the bachelor party…
Simply, “progress” means to move forward. In that sense, a slug can progress from one end of the sidewalk to the other. But for us in twenty-first century America, progress means something else. For us, it is almost a synonym for goodness. The slug can only “progress” if the other…
I have the privilege of being able to counsel a lot of women who are seeking abortions. I can tell you that the majority of them are seeking to end their pregnancies not because they feel like it would be a fun thing to do, but because they are scared…
Last night, along with a few online friends, I watched this debate on the meaning of life between William Lane Craig, Rebecca Goldstein, and Jordan Peterson, hosted by Wycliffe College. While watching it, and reflecting upon Peterson’s work more generally (about which I’ve written in the past ), I was…
I’m glad to have been invited to contribute regularly to the Theopolis Institute website. Thank you, readers, for welcoming and joining what I hope will be a venture of integration. Integration itself is what I want to explore. And for me personally, this is the shape of my current integrative…
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Ruskin's concept of "typical beauty" is a piece of theological aesthetics. In the second volume of Modern Painters , Ruskin distinguished kinds of beauty, the typical and the vital. Of the first, he says: "that external quality of bodies already so often spoken of, and which, whether it occur in…
In the third volume of Modern Painters , Ruskin addresses the "German dulness, and English affectation" that has "multiplied among us the use of two of the most objectionable words that were ever coined by the troublesomeness of metaphysicians,—namely, 'Objective,' and 'Subjective.'" The words are "exquisitely . . . useless"…
George Landow argues ( Victorian Types, Victorian Shadows ) that the poetry of Gerald Manley Hopkins would look less bizarre, though no less innovative, if we placed Hopkins more firmly in the poetics of his time. Which is to say, placed him in the context of a typological poetics. Hopkins's…
Architecture, Ruskin claims ( Seven Lamps of Architecture ), isn’t the same as building. Architecture refers to the specifically artistic features of a building, and the specifically artistic features have to do with adornment and not function: “Architecture concerns itself only with those characters of an edifice which are above…
John Ruskin was the main art critic of his time; he was an artists himself, and also wrote on a variety of other topics, especially on the state of English politics and economy. He abandoned explicit attachment to Evangelical Christianity but remained deeply indebted. He provides an excellent example of…
Typological forms of thought weren't confined to sermons and commentaries, but made their way into 19 th -century English poetry. -Some poets put typology to orthodox uses, though here we can see divergent deployments of a similar typology. Elizabeth Barrett Browning wrote a poem, Casa Guidi Windows (1851) about the…
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