ABSTRACTThis article uses Gadamer’s concept of play as a common lens through which both traditional church liturgy and imaginative evangelical practices of engaging with God can be understood. The category of play encompasses processes which exhibit a back-and-forth motion and functions in Gadamer’s aesthetics to describe the relationship between artwork and viewer. Through an aesthetics of play, Gadamer accounts for the presence of truth in art. As I demonstrate in this paper, liturgy displays the playful characteristics of artwork, allowing for (...) a theologically realist interpretation of divine presence. The final part of this paper considers the imaginative evangelical practices described by anthropologist T. M. Luhrmann, which I refer to as God-play. I argue that there is an unexpected commonality between God-play and traditional liturgy in the form of a functional similarity between the two and propose that God-play may be regarded as liturgy-like practice that has not been traditionalised. My evaluati... (shrink)

In this essay we attempt to accomplish two things related to the work of G.K. Chesterton. The first is to use one of his favorite ploys to articulate the nature of play. We discuss several paradoxical characteristics of play and attempt to show how seemingly contradictory features actually help us to understand play’s allure and other values. We introduce the second topic of theological analyses of work and play with a review of the Christian literature on these subjects. We then (...) employ Chesterton’s paradoxical theology to see how these two aspects of living might come to life and how people of faith should experience them. (shrink)

_An exploration of philosophical and religious ideas about humor in modern philosophy and their secular implications._.

:This article has a dual purpose. On the one hand, I propose a Gnostic reading of Krzysztof Kieślowski's The Double Life of Véronique. In this interpretation, the figure of the puppeteer, who is eventually revealed to be the maker of the film's story, stands for the Gnostic demiurge. He creates puppet-people only to discard and sacrifice them when he is done performing. On the other hand, I use the film as a springboard for launching a broader philosophical conversation, existentialist in (...) nature, on the notion of world as farce. Participants in this conversation are figures such as Schopenhauer, Dostoevsky and Cioran. Weronika's sacrifice is discussed from these two complementary standpoints. (shrink)

This essay argues that reflection on sexual selection can be theologically generative, and that it presents needed counteremphases to some of the discussions about theological anthropology that have been fueled by theological reflection on natural selection. It introduces sexual selection and provides an overview of different approaches to sexual selection found within evolutionary biology today, before transitioning to a reflection on one theologically relevant insight from sexual selection—namely, the importance of play. It argues that the mating and play behaviors of (...) animals reveal the noncompetitive relationship between necessity and gratuity, and thus provide theologians with an example of grace building upon, and not destroying, nature. While play is sometimes depicted in philosophical and theological accounts as the achievement of culture that supersedes the mundane necessities of nature, sexual selection can also help to illuminate the ways in which culture is dependent upon nature, and play is a thoroughly natural phenomenon that provides resources for human cultural elaboration. (shrink)