ver since Debbie Blue published her book Sensual Orthodoxy, I have been struck not just by the content of what she has written but also by the juxtaposition in the title—sensual orthodoxy. The theme of this issue of Regent World is juxtaposition and the arts. The literal definition of juxtaposition is to place two things side by side to compare or contrast. There are times, however, when two juxtaposed words are instead referred to as an oxymoron, because they appear irreconcilably contradictory. My hunch is that this is the case with “sensual orthodoxy.” These words are not simply side-by-side, begging for comparison and contrast, but they appear fundamentally contradictory—at least in the minds of many contemporary Christians. Sensual connotes feeling, emotion, image, music, art and tactility, whereas orthodoxy connotes word, argument, debate, exegesis and abstraction. My early Christian life was characterized by the kind of anti-sensual sensibility that is all too common in Christian circles. Truth was content, word and abstraction; and the realization that God created us as human was muted at best and, at worst, negated. Theology was in. Art was out. Over time, and in contemplation of the incarnation of Christ, God has changed my perspective in ways that Blue captures so well: “Though religion surprisingly often has an anti-sensual, abstracting sort of tendency, the story of Christ goes in the opposite direction. God becomes incarnate, physical in the world. God is made truly human in the womb of Mary and is born into the world through the birth canal. Jesus walks around and eats and doesn’t always wash his hands. God reveals godself as a human with skin and teeth and a tongue, sensing, moving, living, suffering, dying. This is the central story of Christianity and it’s a movement to the physical not so much the metaphysical.”1
This may explain why I still get excited when I walk through Regent College. It is so encouraging to be part of a Christian graduate school that not only takes the Word (both in the person of Jesus and in the revelation of Scripture) seriously, but also pays attention to the expression of this Word in the sensual realm. Encouraging to see a wind tower with its dancing light during the day and its wonderful colours lit by solar panels at night. Encouraging to pause at various paintings and sculptures to contemplate their sensual expression of the gospel. Encouraging to see students sitting in a classroom, reflecting on poetry, paintings, novels and films with not a qualm of doubt that what they are doing is gospel work. Encouraging to meditate on the Celtic cross that graces the south end of the atrium, a visual signpost of our communion with the saints. Encouraging to feel the warmth of light and sunshine weaving its way through the glass roof of the atrium. Encouraging to hear students talk about significant spiritual experiences in writing and painting classes, food and boat courses and at community dinners. These artistic and sensual objects and activities of the College are reminders for our community that Regent is not merely a
by Dr. Rod J.K.Wilson place of concepts and ideas but is embodied in time and place. Whereas much of educational culture seems to be moving away from the relational, the personal and the sensual toward virtual education “at a distance” and “on line,” Regent continues to believe that the sensual should be redeemed by those who themselves were redeemed by the incarnate Son. For Regent College, sensual orthodoxy may be a valuable juxtaposition—but it is definitely not an oxymoron. We all must confront, as Parker Palmer does in the quote below, this juxtaposition in our own faith—asking Palmer’s penetrating question of ourselves and of our faith traditions. “I had been trained as an intellectual not only to think—an activity I greatly value—but also to live largely in my head, the place in the human body farthest from the ground…I had embraced a form of Christian faith devoted less to the experience of God than to abstractions about God, a fact that now baffles me: how did so many disembodied concepts emerge from a tradition whose central commitment is the “the Word become flesh?”2 Rod J.K. Wilson is the President of Regent College.
1. Debbie Blue, Sensual Orthodoxy (St. Paul, Minnesota: Cathedral Hill Press, 2004), p. 10. 2. Parker Palmer, Let Your Life Speak (San Francisco: Jossey-Bass, 2000), p. 67.
Juxtapositions and Oxymorons
Summer 2009• Vol.21, No.2
How Beautiful the Feet
Maria Gabankova, Copy of Grünewald's Crucifixion, detail.
run up the central stairs of Regent College and catch my breath at an art installation I pass on my way to my second-floor office—Vancouver sculptor David Robinson’s chalk-white piece: a preacher, pathetically thin and apparently naked, boxed in by a pulpit which is, as it turns out, also a cross. The piece is titled, “Speak,” but I give it my own title as I pass: “So, you want to be a preacher?” What particularly draws my eyes are the long, narrow feet dangling below the pulpit (Size 12, triple A, I think), feet that are painfully, vulnerably bare. Every vein is distinct, the feet bony and chalky. Normally, the speaker’s feet would be encased in well-polished leather, and perhaps draped by swishing robes; here, they speak of mortality and fragility. I find these feet throat-catchingly beautiful. In the pathos of these bare feet, the artist insists that we remember this preacher’s humanity. As I slow my own hurried steps to regard these feet, I am aware that just across the stairway landing is a reproduction of a section of the Grünewald altarpiece, the original of which is installed in the Unterlinden Museum in Colmar, France. Painted by Maria Gabankova, the reproduction is clearly visible from where I stand in front of the Robinson sculpture. The altarpiece is famously richly coloured and distressingly realistic: again, it is the feet I focus on: the twisted, tortured feet of the crucified Christ, wide and calloused, peasant feet that have never known shoes. These feet do not dangle; instead, they are cruelly skewered by a huge spike to a crude foot-rest mounted on a cross that is bowed by its terrible burden. The bleeding feet of Jesus force me to see Robinson’s preacher’s feet in a new way. The suffering preacher in his pulpit stands with the One whose story he is telling. I realize I notice these feet, now, because I also notice my own. For years and years I scarcely thought about my feet—then they began to speak to me. The podiatrist shows me a model, explaining the source of my pain, and I gasp at the intricacy of the bone structure that has supported my comings and goings all these years. How beautiful they are, I think, those slender bones. How tragically slen-
by Dr. Maxine Hancock
der and multi-jointed. How beautifully crafted and wonderfully made. No doubt, Jesus felt such wonder (and more, for he had created those structures in the first place) as he washed his disciples’ feet that night just before that first Good Friday. And now I am beginning to grasp something, something that slides away even as I try to articulate it: feet—Jesus’ feet, Robinson’s preacher’s, mine; the feet of the many Regent alumni who are carrying good news as they dig gardens, raise children, make meals; as they write poems, make films, tell stories; as they preach the Word, plant churches, teach, sit in government and corporate offices—all are insistent reminders that we carry out our tasks in a vulnerable humanity shared with each other, and with him. In the Incarnation, God came and walked among us, feeling the warmth of the good earth, the tiredness of a day’s standing at the workbench or of walking in the thick dust of Palestinian roads. As the writer of the Letter to the Hebrews puts it: “We do not have a high priest who is unable to sympathize with our weaknesses….” By virtue of those feet having once been nailed to a cross, we are connected not only to earth but also to God’s very self, drawn into the life and love of the Trinity. All that touches us also touches him. So I pause at the top of the stairs at Regent and look from the cruciform preacher to the Crucified Lord and back again. “How beautiful are the feet…” I whisper, “How very beautiful the feet….” Maxine Hancock is Professor of Interdisciplinary Studies and Spiritual Theology at Regent College.
David Robinson, Speak David Robinson, Speak, detail
Michael Ward, The Theological Imagination of C.S. Lewis
John Stackhouse and Ralph Winter
The Ethics of Filmmaking
When Ralph Winter was shooting X-Men 2 in Vancouver, one Sunday he happened to attend the church where John Stackhouse was preaching. The filmmaker and the theologian met. Now, years later, they are co-teaching a course that combines their areas of expertise. “The Ethics of Filmmaking” will examine the four biggest ethical difficulties in filmmaking: money, sex, power, and ideology. It will draw examples from Winter’s career in the film industry (which includes his production of Star Trek films and Fantastic Four as well as the X-Men series) and is primarily designed for Christians who intend to make films. Stackhouse points out, “The one remaining mass medium is the major motion picture. Teachers and preachers used to be able to refer to TIME magazine, the Top 40, or the news. Now what’s left is, ‘What movie did you see last weekend?’” Film consumes millions of dollars and person-hours, and is a force the church must reckon with. Since it shapes our culture and informs our values, learning to think theologically about film and its production is crucial. Though aimed at filmmakers, the course will also be beneficial to anyone who watches films. Stackhouse hopes that, after taking the course, students will be better able both to enjoy movies and to resist them.
J. R. R. Tolkien rejected the Chronicles of Narnia as a mish-mash, and scholars ever since have puzzled over what holds the series together. In 2008, Michael Ward published Planet Narnia, in which he claims to have found the interpretive key. His groundbreaking discovery is the subject of a BBC documentary that aired in April (www.planetnarnia.com). In his book, Ward argues that Lewis based each of the Chronicles on one of the seven medieval planets. Ward’s interpretation and its widespread acceptance among even skeptical scholars have brought him to the forefront of Lewis studies. In July, Ward will teach a course on Lewis’s theological imagination, which will use the Narnia books as case studies. “Lewis’ understanding of the imagination helps explain why the Narnia stories are so successful,” Ward says. “Their literary complexity gets beneath your conscious attention, so that your whole imagination is embraced by their symbolism.” This is why, Ward believes, the Chronicles so powerfully help to form readers’ theological convictions. The approach of this course differs from many Lewis studies. Whereas Lewis’ fiction is often examined separately from his academic writings, this course will connect the two. It will focus on his theories of myth, story and imagination, investigating how these contribute to the theological content of the Chronicles. Students will also be introduced to Lewis’ oft-neglected poetry. The discovery of the planets’ role in Narnia illuminates what readers feel instinctively; Lewis was a writer of extraordinary skill. Ward believes Lewis would be pleased that the secret has at last been revealed, and would likely ask, “What took you so long?”
Isolation, Alienation and Community: A Hope that Cannot be Suppressed
his winter, I spent hour after gray, rainy hour in my old, broken-down green chair by the window, or at my writing desk, drafting and revising poems. The date for the presentation of my Integrative Project in the Arts and Theology had been set: March 24. I could no longer avoid the solitude; poems had to be written. Many artists savour the hours of solitary work. I, by and large, did not. I found myself vulnerable to the kind of introspection that creates a dark, nebulous vortex in the mind and heart, the kind of introspection that pulls one away from an awareness of the presence of God into a menacing awareness of only the self—and not the redeemed self, but the twisted, brooding self. Gerard Manley Hopkins calls this state the “selfbent so bound”; I would describe it as alienation—from God, from others, from creation and from the true self. The old word for this is sin, a word not so commonly encountered these days in the wider culture—or in the church. I can see now that my aversion to the isolation necessary for writing poems had more to do with the work God needed to do in me than it did with writing poems—if the two can be separated. What I would like to suggest is that the isolation necessary for getting creative work done forced me to know in a new way: to know my medium, to know my immediate context, to know myself and to know my God more honestly. And this journey of knowing led me into an unavoidable reckoning with the sin—the alienation—inside me. Indeed, we all need rescue from this “selfbent” bondage—it is not my plight, or the artist’s plight, alone. But for the artist, this plight is revealed most starkly in the creative process—in the thick of the work the artist has been given to do. Which is to say, Christ confronts the artist’s deepest brokenness in the very work for which she has been made. Poet Scott Cairns has noted that the artist “must realize that she makes art in order to find out what she doesn’t know—in part, what she doesn’t know about the world, or about God, or about human relationships, but mostly what she doesn’t know about herself.” This, Cairns states, is what makes an artist’s work a vocational calling: “it is a calling to a lifetime of toil, and its purpose is, primarily, to make the artist a better person.” 1 Further, if the artist denies the journey through isolation into confrontation with alienation, his work will be one-dimensional. It will bear witness to wishful thinking, not true hope; it will be the equivalent of Easter Sunday without Good Friday. Artistic work depends upon an honest, authentic engagement Copy of Grünewald’s Crucifixion, from The Isenheim Altarpiece, by Maria Gabankova
We are using a special format for this single edition of Regent World, in order to give you the opportunity to interact with the two works of art mentioned in Maxine Hancock's article.
by Sarah Crowley Chestnut
with alienation so that it might be meaningful not only to the artist, but to others as well. This is one of the gifts artists give to their communities. For the artist who is a Christian, the call to be an artist is bound up with the call to follow Christ. Which also means, necessarily, the call to be a part of the church. The artist’s community therefore must include not only other artists, but also the called and commissioned body of Christ, in all its diversity. Though I resented it at the time, early in the writing process I needed a fellow artist and student to tell me, “Your poems move too quickly to the light. You need to stay in the dark longer.” Oddly, I needed community to force me to face isolation (and subsequently alienation), so that I might become a deeper person—more authentically Christian, I would say—and so that my poetry might reflect genuine hope, genuine mystery, not wishful thinking or mere cleverness. Later, when my own self was bent and bound to the “dark, nebulous vortex” of introspection, I needed a pastor to ask how the writing was going—and to remind me that not only is there the “selfbent so bound,” but so too is there is an Enemy who “prowls like a roaring lion, seeking someone to devour.” I needed an intercessor to say, “Today, I prayed for you.” I needed a prophet to remind me that God speaks and is speaking— even in the dark vortex. When I was too close to my own work to see its value, I needed friends to say, “This poem gives me shivers.” When I was tempted to throw in the towel altogether, I needed my husband to say, “Just put it aside for an evening and watch Seinfeld with me.” This dynamic relationship between isolation, alienation and community is at the heart of an artist’s work. It is the hopeful work of bearing witness that alienation is not the end of the story. Christ cried out “My God, my God why have you forsaken me?” so that he might say, “Go into the world and preach the gospel to all creation.” Death, the deepest alienation, is not the final word. The self need not be bound to itself; the dark vortex need not consume us; the prowling lion need not feed upon us any longer. This is the power of an artist who is part of the body of Christ; this is the gift of Christ in the church through the artist to the world: a hope that cannot be suppressed. Sarah Crowley Chestnut graduated from Regent College this spring with a Masters of Christian Studies in Theology and the Arts.
1. Scott Cairns, “It’s Not Just You: Artists, Alienation, and Getting On With It.” Re:generation Quarterly 5, no.3 (1999): 14-16.
Though some perceive a clash between art and faith, at Regent College the two complement each other. Many artists arrive seeking this haven. We asked three students to talk about their art forms, and the congruence between their studies and their art.
Three Regent students have been awarded Geographic Scholarships this year: Connie Ang arrived at Regent from the Philippines in the fall of 2007 and is pursuing a Masters of Christian Studies in Marketplace Theology. Yonghua Ge traveled from China to start her Regent degree in the fall of 2008 and is pursuing a Masters of Christian Studies. Yelena Pakhomova came to Regent from her home country of Kazakhstan in the fall of 2007 and is pursuing a Masters of Christian Studies in Theology. Geographic scholarships award academic excellence and help to maintain the international diversity of Regent College. Students who receive this award are exceptional not only for their academic achievements, but also for their commitment and passion to the work of God in their home countries. If you wish to contribute to Geographic Scholarships at Regent College, please contact Richard Thompson in our Development Office.
“How do you retell the story of Jesus in a way people can hear?” Jane Martindale found an answer to her question three years ago, when she joined a team of artists to put together an art installation exhibit entitled Stations of the Cross (stations.org.nz). These Holy Week exhibits, held in Hamilton, New Zealand, have exploded in popularity; 3,400 people visited last year. To retell the story of Jesus’ passion, stations juxtapose the expected with the unexpected. One year, for example, the station of Peter’s denial featured a video clip of Bill Clinton’s famous denial. Martindale’s favourite project portrayed the Last Supper. She arranged cracked pottery in twelve stacks. Each stack signified one of the apostles, broken and empty vessels. In the middle was a perfect bowl with Dove soap in it, symbolizing Jesus. The stations sometimes stir controversy. In a station representing the soldiers’ mockery of Jesus, participants were invited to brand the word “fun” onto cowhide. Though the concept was a play on the phrase “poking fun,” some were concerned that the station encouraged people to ridicule Jesus. Because of controversies such as this, and the theological questions they raised, Martindale decided to pursue theological training at Regent College. “When you present art to the public, you need to get your theology right,” she says. Having struggled with whether art was a valid use of her time, Martindale feels that, at Regent, she has finally found permission to be an artist. She looks forward to the possibility of returning to work on Stations of the Cross, putting into practice the training she has received here.
Craig Handy Craig Handy is one of very few architects at Regent College. Having worked in diverse locations such as London and the United Arab Emirates, he came to Regent to explore the theological grounding of his work. He explains, “The questions of architecture are the questions of life: What is the good life? What does it mean to be a good neighbour?” Handy is considering pursuing these questions in an Integrative Project in the Arts and Theology. The project would consist of conceptual building sketches and three-dimensional models, as well as a public discussion of them. “Buildings speak meanings. If we can’t talk about that meaning, we’re in danger of not realizing how strongly our environment forms us,” he says. Describing how buildings speak, Handy cites the example of the Reichstag, the German parliament building. When it was renovated, the designers made two surprising decisions. First, they left intact graffiti that had defaced the building during the Russian occupation. Second, they replaced the original cupola with a glass dome. The juxtaposition of the modern dome with the neoclassical style, as well as the contrast of the graffiti with the new interior, allows the building to represent Germany’s past and present. “The different eras are legible;” states Handy, “they aren’t covered up.” Handy is grateful for Regent courses, such as “Exegesis,” that have taught him to read well—whether a text or a building. In the future, he would like to both practice architecture and, through teaching, guide others as they explore the questions of architecture and of life.
News The Regent College Board of Governors has “with unanimity and enthusiasm” offered Rod Wilson a five-year extension (beginning in August of 2010) to his term as President of Regent College. The students, staff, faculty and Board of Governors of Regent College are very grateful for Wilson’s dedicated leadership and service to the Regent community, and are delighted that he has decided to accept this third term. Regent alum Catriona Day was recently featured on the Ministry of Environment webpage as a “Steward in Action.” You can read more about Day’s work with the Friends of Semiahmoo Bay Society at www.env.gov.bc.ca/ OurEnvironment/stewards. Day has since begun a new stewardship role, with the Pacific Spirit Park Society.
Caryn Howie After completing a degree in film at the University of Cape Town, Caryn Howie worked in a video production house for Youth With a Mission. Howie appreciates the way film appeals to different senses, with its combination of art forms: image, word and music. She wanted to study theology, but she also wanted to reconcile it with her love of film, so she came to Regent College. Howie says, “Regent has given me the theological basis for things I felt in my heart.” Though Christian culture can sometimes disparage artistic activity engaged in outside of the Church, Howie has never felt comfortable with the isolation caused by this disregarding of society’s films, music and art. Instead, she views all art as a means of connecting with beauty: “Beauty is central to the heart of God; I’ve really appreciated Regent’s reconciling of these two worlds that are often split apart.” Last year Howie created a short film for a class project, in which she focused on the contrasts of her home country of South Africa. She captured images of wealth and poverty, injustice and joy and juxtaposed them in order to communicate the depth of contrast within South African society, contrasts she feels in her own life as well. Being a white South African, Howie feels both entrenched in and distinct from Western culture. “It has been nice to bring an African context into this kind of environment, where I’ve had such a rich theological education. Since I’ve been here, I’ve thought about home in a different way.”
Writer Kristin Niehof
hotographers Ken McAllister, Celia Olson P Printer Western Printers
Can God Be Trusted: Faith & the Challenge of Evil John G.Stackhouse, Jr. Without brushing aside the very serious problems of our world, Stackhouse boldly affirms that this world is the world we actually need, and points to the Christian promise of the transformation of suffering into joy as the best guide for understanding God’s dealings with the world.
Calvin: A Guide for the Perplexed Paul Helm In this helpful introduction, Helm seeks to “re-situate” Calvin through a focus on Calvin’s thought, rather than his personal character or career. Helm also examines the philosophy intertwined with Calvin’s theological positions, an often overlooked perspective.
The Bible in World Christian Perspective: Studies in Honour of Carl Edwin Armerding David W. Baker & W. Ward Gasque (editors) This collection of essays by colleagues, former students, and friends of Carl Edwin Armerding is an expression of appreciation for Armerding’s leadership in the area of Christian higher education.
www.regentaudio.com mp3-downloads Contemporary Christian Spirituality In this series, James Houston examines the unquiet soul of contemporary society. Houston asserts that sin may be described as compulsion to idolatry, and therefore suggests that understanding addicand its widespread James Houston tion controls of our compulsive behaviour can lead us to enter more deeply and realistically into the importance that the desires of our hearts have in our lives. Personal wholeness and health is found in desiring God, through grace, in the exercise of prayer, meditation and thanksgiving.
Centre of Unbroken Praise
Wed., June 3 Krish kandiah Engaging Atheism–Taking Atheists to Church or Taking the Church to Atheists
In this series, Iain Provan encourages in-depth exploration of the book of Kings– in its nature as narrative, history and theology– examining the interrelationship these three and Iain Provan of the consequences of the nature of the book for our application of it to Christian faith and life. Provan focuses particularly upon reading Kings in the light of, and as setting the context for, the New Testament.
Mon., June 29 OLIVER CRISP What is the Point of Prayer?: John Calvin on Petitioning God Wed., July 1 SUSAN PHILLIPS Spiritual Direction as a Navigational Aid in Sanctification
Wed., July 8 PAUL BARNETT Paul’s Conversion and Pastoral Ministry Today Mon., July 13 MARK NOLL Saints from the Non-Western World: Exemplars Worth Knowing, Stories Worth Telling
Wed., July 22 JOHN BARCLAY Food, Culture and the Formation of Christian Identity Mon., July 27 MINHO SONG You are the Rock of My Salvation: The Story of Rev. Kil Sun Joo and the Great Revival of 1907 Tues., July 28 RALPH WINTER & JOHN STACKHOUSE How to Watch a Movie: A Theologian and a Producer Compare Notes Wed., July 29 MICHAEL WARD C.S. Lewis, Narnia, and the Baptised Imagination All lectures run from 8:00-9:30 pm in the Regent College chapel, and are free of charge.
bring a friend SUMMER SCHOOL BONUS
credit or audit tuition
Mon., July 6 PAUL HELM Translating the Faith into Other Cultures: Where is the Limit?
special events Thurs., July 23 Brian Moss and Jeff Johnson Selah Worship Service
Wed., June 10 Maxine Hancock After You Have Done Everything to Stand: Recasting Ageing Within the Pilgrimage of Faith
Mon., July 20 BERND WANNENWETSCH Angels with Broken Wings: What the Disabled Teach Us About Our Common Humanity
www.regentradio.net Regent Radio allows you to listen to individual lectures and complete series by Regent College Faculty Members, Emeritus Professors and Visiting Lecturers over the Internet. This is a great way to participate in the “Regent World,” regardless of where in the world you live. Broadcast schedules are posted daily.
The Marketplace Institute at Regent College recently announced a new research project on capitalism. “Up until the present,” states Paul Williams, Executive Director of the Marketplace Institute, “the Institute has considered the appropriate Christian response to capitalism through various courses, lectures and conferences. Now, this discussion is to be brought to a wider audience through the launch of the website www.capitalismproject.org.” We encourage you to visit this site and participate in this important conversation.
Evening Public Lectures
Wed., July 15 BRUCE WALTKE Why Were You Born?: An Exposition of Psalm 8
I & II Kings
Worship is at once a thermometer and termostat of congregational well-being: that is, what happens when the community gathers to worship registers and Darrell Johnson both regulates its health. In this series, Darrell Johnson explores the dynamics of the worship event. He also looks at the Biblical origins, historical development and contemporary issues of worship.
Don Lewis, having served Regent College as Academic Dean for six years, will complete his term this summer. After careful consideration, the faculty has determined to move forward with the institution of a new structure that will include an Academic Dean and an Associate Dean: Paul Williams will serve as the new Academic Dean, with Craig Gay serving as the Associate Dean. We wish both to thank Lewis for his hard work and to welcome Williams and Gay to their new roles at Regent College.
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James Houston received first place in the category of Biblical Studies at the Word Guild Christian Writing Awards for his two-volume book Letters of Faith Through the Seasons.
June 10–July 31
Calligraphy by Tim Botts
Opening reception Wed., June 10, 4-7pm The artist will be present
Bring a friend! If you have taken at least one on-campus course at Regent College and have a friend who has never taken an on-campus class at Regent, you and your friend (or even you and two friends) may be eligible for our “Bring a Friend” discount. You must take the same course together to be eligible, as well as fulfilling the above requirements. Visit our website to fill out a Tuition Benefit Application Form. This bonus may be used by credit or non-credit students. www.regent-college.edu/academics/summer/promotions
ut nt e o s g b t e den ying a ts at R u t S t Sa a Ar e h r A W the “Regent College offers a vision of the arts that is both skilled and accessible—a blend that is rare.” “The fact that there is designated space for an art gallery speaks volumes about where the school stands when it comes to the gift of creativity.” “I have come to find that a thoughtfully composed work of art will be taken as seriously as a well-written paper.” “I always thought I didn’t know how to worship. Regent has taught me that worshiping God through beauty is valid, and even good.” “The biggest thing Regent has given me is the permission to do art.” “I feel like more of a whole person for having studied at Regent because of its integration with the arts.” “It is so affirming to attend a graduate school of theological studies where the heart of the artist is understood and encouraged.”
Read, Listen, Listen Again
Editor Dal Schindell ontributing Editor Stacey Gleddiesmith C Designer Rosi Petkova
Eugene H. Peterson received an Award of Merit in Christianity Today’s 2009 Book Awards, for his book Tell it Slant: A Conversation on the Language of Jesus in His Stories and Prayers.
The John Richard Allison Library highlighted Christian-Jewish relations in this period. To highlight three collections this year with special events: this important collection, Conway led a screening and Ron Reed, co-founder and artistic director of Pacific discussion of Martin Doblmeier’s recent film “Bonhoeffer.” Theatre (PT) and Regent alum, has gifted Regent his Regent also received a substantial collection of works on collection of 550 play scripts, including several original theology, social history, literature and art, and art history manuscripts. Reed commemorated this gift and 25 from sessional lecturer in theology and the arts, Laurel years of PT with “Ron Reads,” a celebration held in the Gasque. This collection was celebrated in connection Allison Library involving readings by PT actors from with a library art display by Regent alum Jim Gladden. plays produced by PT. Gasque presented her collection of fine arts books and John Conway, historian, continues to contribute to a led a discussion on theology and the arts and the history collection containing a significant number of materials of the arts at Regent College, while Gladden spoke about relating to Twentieth Century Church History, specifically: his spiritual and artistic journey and led the group in a the Holocaust, the policies adopted by the various hands-on demonstration of his techniques. branches of the Christian Church toward Judaism and
The Regent World Summer 2009, Volume 21, Number 2
John Stackhouse received an Award of Merit in Christianity Today’s 2009 Book Awards for his book Making the Best of It: Following Christ in the Real World.
J.I. Packer recently received a Wycliffe Lifetime Achievement Award from Wycliffe Hall, Oxford. This award is intended to recognize “those who have globally advanced the Christian message in a significant way.”
Published on Mar 22, 2011
Michael Ward, The Theological Imagination of C.S. Lewis The Ethics of Filmmaking Maria Gabankova, Copy of Grünewald's crucifixion, detail. S...