*This post is by guest writer Chris Wermeskerch. Chris is currently a M.Div. student at Northern Seminary. He loves memes, theology, Star Wars, and God. Not always in that order.
Biblical theology, as a whole, is a somewhat new discipline. It was not generally received as a separate study of theology until the late 1700s, and even after being differentiated, it is sometimes hard to tell the difference between theology and biblical theology. Biblical theology seeks, as best it can, to replicate the theology of the Bible itself, not inside of current frameworks.
In doing so, biblical theologians hope to let the Bible speak for itself rather than following current epistemological trends, such as foundationalism, postmodernism, or even denominationalism. This type of theology has been made popular recently by thinkers like Graeme Goldsworthy, Kevin Vanhoozer, Geerhardus Vos, and Meredith Kline. In Biblical Theology: The God of the Christian Scriptures, John Goldingay seeks to differentiate his work by answering a somewhat different question: “What understanding of God and the world and life emerges from these two Testaments [the First and the New Testaments]?” (p.13).
In the introduction to Hermeneutics as Apprenticeship, David Starling suggests that scriptural interpretation should be thought of as “requiring not just sweat but skill, and not just skill but character” (p.17). Throughout the book’s pages he emphasizes that readers should consider biblical hermeneutics to be, not merely an austere set of rules for interpreting the Bible, but also a craft that one participates and grows in.
Part of what Starling seeks to address in Hermeneutics as Apprenticeship is the problem of “pervasive interpretive pluralism” present in Protestant and evangelical hermeneutics (pp.7-8). One way of defining the issue can be found in Christian Smith’s The Bible Made Impossible. In this book, Smith essentially asks how it can be that, given the claims made by many evangelicals about the clarity and accessibility of Scripture, there are still significant disagreements amongst sincere, devoted, and intelligent evangelical readers about how to best understand and interpret it (The Bible Made Impossible, p.17). Continue reading
In each of the four canonical Gospels, extended attention is given to the events that led up to and culminated in Christ’s death and subsequent resurrection. It’s for this reason that the gospel accounts have sometimes been described as “passion narratives with extended introductions.” Without taking away from the obvious importance placed by the gospel writers on the cross and resurrection, though, I think it’s also worth pointing out how much space is given (at least in the synoptic Gospels) to Jesus’ parables.
Jesus was known for being a storyteller. In fact, Richard Lischer notes in Reading the Parables that in the synoptic gospels, “the parables constitute approximately 35 percent of everything Jesus is reported to have said” (2014, p.5). Mark even tells his readers that when it came to the surrounding crowds, “He [Jesus] did not say anything to them without using a parable” (4:34a, NRSV). Of course, the function of the parables in Jesus’ proclamation and enactment of the Kingdom is not without controversy. In some places—especially in Mark—it is uncertain whether the parables were told in order to conceal or reveal. Regardless, it’s clear that the telling of parables formed an important rhythm in Jesus’ ministry. Continue reading
It was the 2nd century church father Tertullian who asked, “What does Athens have to do with Jerusalem?” Readers coming to Kevin Vanhoozer’s dense and immensely rewarding The Drama of Doctrine might initially voice a similar question: “What does Broadway have to do with Jerusalem?” In other words, what does the church have to learn about its task from the theater? I believe that Vanhoozer’s reply would likely be something along the lines of, “Actually, more than you might think.”
The core of Vanhoozer’s proposal consists in a series of striking theatrical metaphors for theology, Scripture, interpretation, the Church, and even the pastor (p.xii). For him, these metaphors are appropriate because the world of “faith seeking understanding” is itself dramatic. He explains, “At the heart of Christianity lies a series of divine words and divine acts that culminate in Jesus Christ… The gospel—God’s self-giving in his Son through the Spirit—is intrinsically dramatic” (p.17). As a theological metaphor, the theater can also help show “how we come to know things not simply by beholding and contemplating them but by indwelling and participating in them” (p.79). Continue reading
What should healthy biblical interpretation look like? Craig Bartholomew’s Introducing Biblical Hermeneutics addresses this question head on, giving a sweeping introduction to the subject that both explains the history and importance of various academic approaches while also developing for readers a vision of biblical hermeneutics that is trinitarian in shape and aimed ultimately at enabling “obedient attention to God’s address through his Word” (p.10). Bartholomew was born in South Africa in 1961 and now teaches at Redeemer University College in Ontario, Canada.
Hermeneutics deals with the study of interpretation, especially in regards to works of literature. Therefore, it’s a particularly relevant area of study for Christians given the uniquely authoritative role Scripture plays in shaping the beliefs and practices of the Church. Bartholomew invokes the words of Karl Barth to make clear the kinds of demands made by the Bible on its readers, “If Scripture is the Word of God, then, as Karl Barth rightly observes, no one can stand before it as a spectator” (p.45). Hermeneutics might seem intimidating and irrelevant, but Bartholomew argues that it actually is “the theory of a practice,” adding that when it’s done well, “hermeneutics deepens and enriches our practice of engagement with the Bible as Scripture” (p.12). Continue reading