Explore our collection of theological essays, biblical studies, and reflections on faith and culture.
If utopia is a perfect place or at least the best possible social arrangement, it must be a very dull place where any change is a change for worse and not for better, where nothing can be new and good at the same time. There can be no conflict in…
Christians, even those who say much about ‘incarnational’ faith, can say surprisingly little about the way that God claims our bodies . Perhaps this is most striking in treatments of baptism, where the intensely bodily character of the rite would especially seem to invite comment. Even if the term ‘baptism’…
Dear Pastor, I believe the locus of the difference between us is your statement here: "There are mothers who choose to risk their lives and even die to preserve the fetus, there are those who wouldn't. There are the circumstances of the individual, family, income, community, illness, risk factors, etc..…
New Year’s resolutions for weight loss are practically on the liturgical calendar of America. Somewhere around the beginning of a new year, people resolve that they will get in better shape. Some are made to feel guilty by the obesity police in our country (whose standards are, many times, very…
Click HERE for Part 1 After sending my letter to the local pastors, I received a long and thoughtful post from one of the local pastors, and it was sent not just to me, but to all of the pastors whom I e-mailed. Unfortunately, I do not feel I can…
Narrative and story have been all the rage in theology for the last few decades. The attractions are obvious. Narrative theologians favor the active, unpredictable, vibrant God of Scripture to the impersonal first principle of philosophical theology. Narrative theologians reject the notion that theologians need to justify their work by…
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Plays might be promoted as a kind of opiate of the masses: Mass entertainment that keeps them from more violent entertainments like rioting and pillaging. This could be problematic, if the entertainments were too heady for most people to follow. Thomas Heywood (1612) suggested that playwrights should “ayme . .…
How regulated was Shakespeare’s own theater? And for what reasons? Patterson highlights various reasons for closing or permitting theaters: audience composition, including the fear that a large collection of workers might be distruptive; public health; economic concerns; religious and moral concerns, especially Sabbatarian; and “a shifting and elusive imperative to…
Shakespeare’s fortunes in the US were, understandably, different from in England. Initially, Shakespeare was America’s most popular playwright, appealing to a wide sector of the American populace. Patterson notes that “by the end of the nineteenth century ‘Shakespeare’ had become a cultural icon, the property only of the ‘legitimate theater,’…
Annabel Patterson notes ( Shakespeare and the Popular Voice ) that contemporary critics, whatever their own political outlook, assume that Shakespeare was an advocate of Elizabethan hierarchy. This view, however, is a product of the 19th century. Dryden, Johnson, and others criticize Shakespeare for violating the conventions of his genre,…
By the 18th century, acting styles also invested Shakespeare with “courtly” virtues of control, dignity, stateliness. Dobson writes, “Shakespearian acting . . . in the decades following Betterton’s death in 1710, seems to have settled into a grandiloquent vein of static declamation, best exemplified by the stout James Quin (1693-1766)…
Dobson again: “after Charles II’s death in 1685 England would never again have another monarch with such an informed interest in the drama (or, mercifully, such a lascivious one), and deprived of royal patronage and protection the playhouses came under renewed attack from the moralists (led by the redoubtable clergyman…
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