This study argues that the century after the Reformation saw a crisis in the way that Europeans expressed their religious experience. Focusing specifically on how this crisis affected the drama of England, O'Connell shows that Reformation culture was preoccupied with idolatry and that the theater was frequently attacked as idolatrous. This anti-theatricalism notably targeted the traditional cycles of mystery plays--a type of vernacular, popular biblical theater that from a modern perspective would seem ideally suited to advance the Reformation project. The Idolatrous Eye provides a wide perspective on iconoclasm in the sixteenth century, and in so doing, helps us to understand why this biblical theater was found transgressive and what this meant for the secular theater that followed.

Michael O'Connell shows that Reformation culture was preoccupied with idolatry and that the theatre was attacked as idolatrous. This anti-theatricalism targeted the traditional mystery plays. The text aims to explain what this meant for the secular theatre that followed.

Offering fuller understandings of both dramatic representations and the complexities of religious culture, this collection reveals the ways in which religion and performance were inextricably linked in early modern England. Its readings extend beyond the interpretation of straightforward religious allusions and suggest new avenues for theorizing the dynamic relationship between religious representations and dramatic ones. By addressing the particular ways in which commercial drama adapted the sensory aspects of religious experience to its own symbolic systems, the volume enacts a methodological shift towards a more nuanced semiotics of theatrical performance. Covering plays by a wide range of dramatists, including Shakespeare, individual essays explore the material conditions of performance, the intricate resonances between dramatic performance and religious ceremonies, and the multiple valences of religious references in early modern plays. Additionally, Religion and Drama in Early Modern England reveals the theater's broad interpretation of post-Reformation Christian practice, as well as its engagement with the religions of Islam, Judaism and paganism.

The Bible was written within collectivist cultures, and it's easy for Westerners to misinterpret—or miss—important elements. Combining the expertise of a biblical scholar and a missionary practitioner, this essential guidebook explores the deep social structures of the ancient Mediterranean, stripping away individualist assumptions and helping us read the Bible better.

Thomas Chalmers, in his classic sermon entited, “The Expulsive Power of a New Affection,” correctly ascribes subjective power to subjective affections, for love does have an expulsive power, whether one loves God to the despising of self, or loves self to the despising of God. But he incorrectly sides with objective justification, full pardon and gracious acceptance as the power that creates love and the engine that empowers sanctification. He is right to suggest that a new affection has expulsive power, but wrong to suggest that the source and power of a new affection is primarily in the indicative benefits. Jonathan Edwards, on the other hand, sided with regeneration for the obvious reason that without a new nature, the natural man can only be constrained by outside considerations (the indicatives) to superficially walk in newness of life (the imperatives). Such considerations mght produce change that rises as high as the outward performance of the Legalist, but it is still only the superficial height that self-love alone can achieve. The Spirit’s work of illuminating the higher glory and beauty of Christ to the soul is the only source of an affection that can be called new. If the expulsive power of a new affection does not dethrone self as one’s primary concern in life and theology, then what exactly is being expulsed by the power of the gospel? If one’s religion does not surpass one’s primary concern for what’s in it for oneself, then one’s self-love may have an expulsive power, but it will be the light of the glory of God in the face of Christ Jesus that is expulsed by the power of self-love. The irony of the cross was that Christ was crucified by those who already had a knowledge of God’s steadfast love and rejoiced in spiritual priviledges. The proper force and source behind the believer’s love for God is not found in the objective benefits as they reflect upon the believer’s high privileges, but God’s power alone as it is exerted in the soul by the Spirit imparting a new heart, new affections and a new principle of action that did not exist prior. Good fruit is produced only by a good tree, and however constrained by outside forces, a bad tree cannot be manipulated to produce fruit contrary to its nature.

We must lay down our certainties and honestly admit our doubts to identify with Jesus. Rollins purposely upsets fundamentalist certainty in order to open readers up to a more loving, active manifestation of Christ's love. He explores how the Good News actually involves embracing the idea that we can't be whole, that life is difficult, and that we are in the dark. By joyfully embracing our brokenness, and courageously accepting the difficulties of existence, we truly rob death of its sting and enter into the fullness of life.

Recovering a crucial grammar of theatrical representation, this book argues that the onstage embodiment of characters-not just the words written for them to speak-forms an important and overlooked aspect of stage representation.