Explore our collection of theological essays, biblical studies, and reflections on faith and culture.
In the Bible, fatness is such a blessing, that it is especially hard to understand why wicked men are permitted to enjoy such a state. It requires a theodicy and faith in God. Thus: “For they have no pangs until death; their bodies are fat and sleek . They are…
[fve]http://vimeo.com/71901553[/fve]
The allusion to the Exodus story is contained in the first words of Deuteronomy 14:1 — “ye are the sons of Yahweh your God” — as well as in 14:2 in the use of the technical term translated “treasured possession,” “His own possession,” “peculiar people,” “precious people,” and so forth.…
I have argued that Deuteronomy 14:1-21 is an independent literary unit that applies the Third Word to the lives of Israelites from the time of Moses and Joshua. In this short pericope, Moses suggests broad and deep meaning by means of literary allusion to the stories of the creation and…
In his recently republished The New Creation , the late, delightful Herbert McCabe defends the priesthood of the plebs as roundly as anyone could want. Citing Hebrews, he claims that "there is an essential difference between the Christian community and the community of the Old Law, or any other religious…
Augustine famously prayed, “Our hearts our restless until they rest in You.” True indeed. Being creatures, we inherently sense our ontological poverty—our innate condition of dependence—and are compelled to find a sense of security. And it is also true—as Augustine’s own narrative painfully illustrates—that one of the things we most…
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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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