Explore our collection of theological essays, biblical studies, and reflections on faith and culture.
To begin with the source of this narrative: Since no human being was present to observe these events, we must assume that this narrative was revealed directly by God to a human author. There are three ways this might have happened. First, we might read, "God said to Abraham (or…
The Empire Strikes Back is a movie most of us have seen more than once. It is generally regarded as the best of the three Star Wars films, which is probably due to the fact that unlike the other two, The Empire Strikes Back made use of the services of…
Now that we have examined three unacceptable approaches to the events recorded in Genesis 1, it is only fair for me to set out what does seem to be recorded there. To begin with the source of this narrative: Since no human being was present to observe these events, we…
Two books on the "Bible Code" have appeared this year. The first, a current bestseller, is Michael Drosnin’s The Bible Code (Drosnin, 1997). The other is Cracking the Bible Code (William Morrow, 1997), by Jeffrey Satinover, known to Christians for his outstanding 1996 book Homosexuality and the Politics of Truth…
Part 1: Introduction The collapse of the Western tradition in the United States, seen in the hostility to Christianity in government and education, and the elimination of "traditional" or "canon" learning from our institutions of middle and higher learning, provides a crisis and an opportunity for serious believers at the…
A Brief Defense of John Murray’s “the Free Offer of the Gospel,” & A Question About the Extent of the Atonement John Murray (1898-1975) is probably the last of the great American theologians; he belonged in the same set as that which contains such eminent Presbyterians as Charles Hodge and…
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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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