Explore our collection of theological essays, biblical studies, and reflections on faith and culture.
He made Him who knew no sin to be sin on our behalf, that we might become the righteousness of God in Him. My argument is simple: What Paul means in writing the quotation above in context is the same as what he was telling the Ephesians when he wrote,…
THE ART OF BIBLICAL THEOLOGY IN PRACTICE: INTERTEXTUALITY AND TWO PAULINE CASE STUDIES The Art of Biblical Theology: Intertextuality Biblical Theology is really an art. Like other skills of this sort, it is not a matter of following rules (though there are certainly guidelines and techniques). Rather, it’s matter of…
Click HERE for Part 1 Reading Christotelically Jesus Christ is the heart of God’s plan for creation and history. There is no “hidden plan” or “hidden God” lurking behind Christ; rather, in and through Christ God has revealed himself and his intentions towards the world. In Christ, the Father has…
STORY THEOLOGY AND A THEOLOGY OF STORY Defining Biblical Theology What is Biblical Theology? How does it compare to other ways of doing theology, such as Systematic Theology? Geerhardus Vos suggested that whereas Biblical Theology draws a line, Systematic Theology draws a circle. That is to say, Biblical Theology is…
The gospels strongly imply Jesus lived by faith in the promise of his heavenly Father. How else can his prayer life understood? How else could he have wrestled through the Gethsemane experience? How else could he have committed himself into his Father’s care at death? How could Jesus have presented…
John 3:16 is probably best-known, or at least, best-liked Bible passage in North America: “For God so loved the world, that he gave his only Son, that whoever believes in him should not perish but have eternal life.” This declaration of God’s love of the whole world is greatly comforting…
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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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