Explore our collection of theological essays, biblical studies, and reflections on faith and culture.
In this essay we will think about how the whole Bible is structured as one Word of God. To begin with, there is only one Bible, not two. While we divide the Bible into Old and New Testaments, that division has no more meaning than divisions into chapters and verse,…
How should one badly bruised and inadequate church relate to another? (I am not addressing the blessed possessors of absolutely perfect churches, naturally.) I believe there are three things to bear in mind. First, we must be open to the values in other Christian traditions - even Roman Catholic and…
The third and sixth day have a second creative act. Note the chiastic arrangement of the material in these special acts and the parallelism between them, see the figure below. The author arranges the description of each day as a chiasm. Each line in the chiasm is mated with a…
Now the two of them were naked, the man and his woman, and they did not sense shame (Genesis 2:25) The nakedness of Adam and Eve requires several comments. First of all, against those who think that nakedness is what God intended for humanity as a permanent estate, we have…
I’ve been reflecting on the meaning of integration, and our longing for integration in a fragmented world. I’ve been connecting my own covenant epistemology further with the thought of scientist-philosopher Michael Polanyi, artist Makoto Fujimura, and Classical Christian metaphysician D.C. Schindler. In my last post , and now in this…
Luke 13:31-33 is one of the strangest passages in the Gospel of Luke. It begins with a time note that sounds emphatic “At that very hour.” Then, we are told of Pharisees bringing a message that Herod wants to kill Jesus! In His answer, Jesus speaks of a three day…
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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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