How does a culture change its mind? What makes an entire people repudiate a position once held with blithe certainty?
Ideas
Posted inArts & Culture, Ideas
Pardon Is the Word: Shakespeare, Edmund Campion and the grace of forgiveness
Shakespeare, Edmund Campion and the grace of forgiveness.
Posted inIdeas
What’s Next?: Contemporary thinkers tackle life’s big question
What one believes about God bears directly on what one believes about the future of the human person.
Posted inFaith, Ideas
Was Shakespeare Catholic, Protestant or an atheist?
From 2009: On William Shakespeare’s birthday, Kathleen Doherty Fenty asks: Does it matter what his faith was?
Posted inFaith, Ideas
Searching for Christ in a comic book culture
It should not surprise us that the superhero genre has shaped our culture’s understanding of Jesus.
Posted inIdeas
Accept the Absurd: Beckett and Kierkegaard, Godot and Christ
God, Samuel Beckett and the ‘Theater of the Absurd’
Posted inIdeas
Grace and the Grotesque: Flannery O’Connor on the page and screen
Flannery OConnor was a storyteller whose characters represent the strangest sort of people on earth.
Posted inIdeas
Sanctity and the Secular: Have contemporary artists lost the idea of holiness?
When a revival of Robert Bolt’s marvelous play “A Man for All Seasons” opened on Broadway last October, the New York Times critic Ben Brantley, usually reliable for intelligent insights into theater and serious reflection on dramatic themes, wrote a strange review. Brantley seemed
Posted inIdeas
Sanctity and the Secular: Have contemporary artists lost the idea of holiness?
When a revival of Robert Bolt’s marvelous play “A Man for All Seasons” opened on Broadway last October, the New York Times critic Ben Brantley, usually reliable for intelligent insights into theater and serious reflection on dramatic themes, wrote a strange review. Brantley seemed
Posted inIdeas
Sanctity and the Secular: Have contemporary artists lost the idea of holiness?
When a revival of Robert Bolt’s marvelous play “A Man for All Seasons” opened on Broadway last October, the New York Times critic Ben Brantley, usually reliable for intelligent insights into theater and serious reflection on dramatic themes, wrote a strange review. Brantley seemed