Schleiermacher and “Religious Others”

Friedrich Schleiermacher has often been credited with being the most influential modern founder/articulator/theorist of practical theology. I do not wish to go into the strengths and limits of such a claim, but rather to call attention to a recent book … Continue reading

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Notice from De Gruyter about Open Theology journal

We received this notice recently from De Gruyter: OPEN THEOLOGY journal CALL FOR PAPERS Open Theology – an international Open Access, peer-reviewed academic journal, launched recenty by De Gruyter Open, welcomes contributions addressing religion in its various forms and aspects: … Continue reading

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Job Opening: Director of Field Education and Professor of Practical Theology, Louisville Seminary

Field Education Position Description 6 15 15

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Was ist los, Stuttgart? Kirchentag! Part 2 of 2

Part 1 is here. Here are the pictures from Kirchentag in Stuttgart, Germany, last week, that I mentioned in my previous post. —Tom Beaudoin

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Was ist los, Stuttgart? Kirchentag! Part 1 of 2

I didn’t know that my recent visit to Stuttgart, Germany, would coincide with Kirchentag – because I had never heard of Kirchentag. But as soon as I stepped out of the train station, I saw people, young and old, sporting … Continue reading

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Representing Practice: An Assist from Dwight Conquergood, Part 3 of 3

Part 1 is here. Part 2 is here. What has been missing for me so far in Conquergood’s theory of the representation of practice through performance is a sufficiently subtle account of how the four traps that lay in wait … Continue reading

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A Note on Stew, “Notes of a Native Song”

Last night, I saw “Notes of a Native Song” at the Harlem Stage in Manhattan. It was written/composed by Stew and Heidi Rodewald, of “Passing Strange” (one of my favorite musicals) fame. As in “Passing Strange,” Stew sang lead and … Continue reading

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Representing Practice: An Assist from Dwight Conquergood, Part 2

Part 1 is here. Conquergood provides four different ways of representing the practice of others, drawn in the service of a “moral mapping of performative stances towards the other” (p. 5). First is “The Custodian’s Rip-Off.” When we characterize practice … Continue reading

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