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convictions about catechesis, but also by pressures imposed upon him from above. Moreover, his publications in the later period demonstrate a real impetus toward creative negotiation in which he actively embraced conformity yet sought innovative ways to continue to provide the sort of religious instruction that he believed was necessary for learners to receive. Bernard’s religious
Chapter 8 first clarifies Bernard’s position in parish, regional, and national controversies regarding the Sabbath and the communion table which came to a head in the 1630s. I show that Bernard’s approach, both in his own parish and within the regional puritan network, was to do as much as possible to maintain his longstanding puritan theological-pastoral programme: yet when pressed he would remain (at least minimally) conformable to the national church. During this time, he was composing Threefold Treatise of the Sabbath, a text for which he probably sought license in the 1630s but which would not appear until 1641 with the breakdown of Laudian licensing. I show how the finally published version of the work performed significant theological and rhetorical gymnastics to construct a view of Sabbath observance that conformed to the national church and yet fit within a puritan vision for godly observance. Then, I turn to demonstrate that Bernard made similar theological and rhetorical moves in another work, also published in 1641, addressing the fraught issue of Christ’s descent into Hell. In both publications, I suggest, Bernard’s creative presentations of content echoed his concurrent parish efforts to find an elusive harmony between his own theological and religious goals, on the one hand, and his commitment to the national church, on the other.
interpreted these experiences’. 30 An aspect of creativity remained even when meditation was in regard to things outside one’s personal experience. Susan Felch has argued that Psalm collage and Psalm paraphrase, written devotional practices related to prayer, were creative authorial compositions. 31 Some meditations, like the works Felch examines, focused upon scripture
Regimental chapel (formerly the chapel of St John the Baptist and then the Derby chapel). It was paid for by officers of the Manchester Regiment and dedicated on 5 July 1966 in commemoration of Manchester’s part in two World Wars and in memory of Sir Hubert Worthington, whose eighty-sixth birthday it would have been. The design was by Hazel Margaret Traherne (1919–2006), a textile and stained glass artist who over a long creative life concentrated increasingly on the use of colour as her primary focus. She worked with many
Committee, and was convinced of the importance of church schools in Manchester, not least because they were a vital point of contact for the church with a society which was increasingly multi-religious and multi-cultural. He was, by all accounts, a creative and imaginative teacher, whose usual Sunday sermons were often ‘somewhat opaque’, except on those occasions when he was preaching to children and adopted some brilliantly ingenious device to illustrate a particular point. 16 Waddington’s lasting innovation was probably
pressures imposed upon him from above, with his publications in the later period demonstrating an impetus toward creative negotiation in which he actively advertised his conformity before ecclesiastical superiors and any reading audiences, yet sought innovative ways to continue providing users (including, but not limited to, his own parishioners) with catechetical materials consonant with his longstanding
, while he fell soundly in line with those who saw printed sermons as of limited use, he also thought creatively about other print uses of sermon content. He made a clear effort to distinguish printed sermon adaptations from preached sermons in all his works. He accomplished this in various ways – ranging from comparatively limited changes to sermon texts in Sinners Safetie (1609
early work inspired a number of women scholars to drastically reappraise the western philosophical heritage from its beginnings. In Religious Studies, it also prompted women to develop their own critical analyses and creative experimentations, especially in reaction to the traditional formulas of philosophy of religion. The different works of Pamela Anderson (1998), Amy Hollywood (1998), Pamela Huntington (1998) and Grace Jantzen (1999) all exhibit the influence of Irigaray’s initiative, but certain of their responses have varied, as they have become aware of the
debates concerning appropriate relations between literature and theology are not a primary concern. There are many reasons why this is so. Chief among these is the fact that literature written by women is so rich in its references to the divine. Early works of feminist criticism celebrated the discovery of this remarkable spiritual legacy and demonstrated how the spiritual radicalism of women’s creative writing posed a direct challenge to the conventions of domestic piety usually deemed appropriate to women. For this reason women authors often found it necessary to
conventions of traditional academic discourse (again, see Braidotti 1991: 165). Ironically, it is partly because their work has blurred the distinctions between theory (assumed to be empirically grounded) and fiction (assumed to be imaginative construction) that they were initially greeted with such misunderstanding by English-speaking feminists. For example, Hélène Cixous’ rhetorical calls for women to write their bodies (1975a) were read quite literally as a call for women to abandon the picket line or political meeting for the creative writing class. They were thus