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Showing posts from October, 2012

Anthony Thiselton major works interview

Latest interview from St Johns College Nottingham is with Anthony Thiselton, commentating on the major themes and books in his life's work...worth watching...

Spiritual Fitness, Church in a Culture of Choice

I have just started reading this book, Spiritual Fitness by Graham Tomlin (London: Continuum, 2006). It is a really good read, and quite challenging in places. I'm not in total agreement with Tomlin in every area, but find him a very stimulating conversation partner (this ought to be expected after his Provocative Church (2002)). The premise of the book is partly as a follow up to his earlier work, and partly as a fleshing out of the question "what would happen if Christians started to put huge amounts of time and energy into developing their spiritual health and fitness?" There is a missional drive to this: such lives would be attractive to others, doubly so in our post-modern world in which people are looking for points of reference (if Zygmunt Bauman is to be believed). I thought I would have a go at blogging my way through, chapter by chapter - partly as good practice for me when it comes to blogging, and partly for fun! So here goes... Ch. 1: Church in a Cultu

On Having a Blackened Halo...

This is a photograph of the East window above the altar-table at Church. It is a piece of religious art I both love and hate. I hate it because I'm not very keen on Victorian depictions of the last supper, on the whole, because they tend to be quite miserable and Jesus is always pale and English-looking. The disciples are all bearded men, dressed wholly inappropriately, and are also pale and English-looking. But, there's always a "but" with this sort of thing for me: I love this stained glass window because it is quite unusual. It's a bit small to see the full detail in the photograph, but one of the disciples has a blackened halo. Often on a Sunday morning when I look at Judas I feel quite sorry for him in this image: permanently marked out by the artists as the betrayer, one whose holiness and faithfulness is called into question so very publicly every week. As if to make it more obvious, the artist has represented Judas facing away from Jesus, and away fro