Feminist Theology

This article focuses on the theological journeying of women ordinands in the Church of England, who have had to negotiate their belonging in the ‘pathway’ to Priesthood in ordination training. Attention is given to the extent to which the personhood of women is enabled to truly flourish in a theological education system that is dominated by men and predominantly patriarchal and Western theologising. It suggests that a gendered politics of belonging has been used and maintained through the socio-religious construct of ‘shame’ in order to maintain the boundaries of belonging within the formation process, and therefore calls for an en-gendered ‘pathway to the priesthood’. This is exemplified in a re-reading of the bleeding woman who dares to challenge the hegemonies of patriarchy and purity by touching the cloak of Christ in Luke 8:40-48. This research is part of an ongoing project with Common Awards at Durham University that explores barriers to belonging in theological education for those in training for ordination. It has therefore received ethical approval for interviews and participant observations.

This article seeks to recover a familiar but unappreciated female voice from English Puritanism of the seventeenth century, that of Margaret Baxter. Various challenges to such recovery are examined, most notably the nature of her relationship to her pastor and husband, Richard. Extant literature from Margaret’s hand focuses on the events surrounding her conversion and life-threatening illness shortly thereafter. The present analysis of these texts and their circumstances concludes that Margaret was a faithful but critical heir of the practical theology of her day, and that in her lived expression of that tradition one observes the enduring scars of the trauma of her conversion.

In this article, I trace my story from Jewish ‘war baby’ to thealogian embracing Goddess talk; a search for spirituality, as well as for roots. I explore, in particular, Asherah, whom I accept as the Hebrew Goddess, and I share some of the insights of academics who illuminated my path. I also touch on the latest DNA evidence for the origins of Ashkenazi Jewry and my own search for identity.

What can we define as evil in the twenty-first century? Paganism had no devil figure, only trickster gods. It was monotheism that personified evil as Satan, although by the mid-twentieth century, Satanism was recognised as an alternative religion with its own churches. Can we point at individuals whose intentions were not diabolical, but the outcome of which had a negative impact? Perhaps such changes can be attributed to an ideology or the rise of science? Or perhaps evil occurs when too many people close their eyes to what is happening around them, while goodness is taking responsibility for the world in which we live?

When faith traditions confront postmodern uncertainties regarding historical liturgical practices, political and cultural ideologies, the self and sacred space, the assurance of truth claims, allegorical readings and interpretations of sites where divine presence is found are equally questioned. Can allegorical interpretations offer a valuable strategy in postmodern understandings for identifying how Divine presence is embodied? One possibility is to discover how two Anglican women embody their faith community’s via media and in turn these women may be read as an “open icon.” To provide contrasting views, Orthodox Icons are particularly noted for their allegorical certainties that identify and point with sharp clarification to Tradition and the Church’s sacramental understandings. An allegorical frame “closes” the Orthodox icon. In a postmodern view, allegory “opens” said frame to a vast horizontal landscape that discovers spaces, places, and persons in which the Holy Spirit works mysteriously and unexpectedly. Both Evelyn Underhill and Barbara Brown Taylor writing almost a century apart and each encountering their respective historical reactions to “modernism,” trace the margins of their faith along the Anglican understanding of the via media. In doing so, both suggest the notion of “open” icon—the body itself.

The ‘1st Congress Churches and LGBTI+ Community: ecumenical dialogues for respect for diversity’ was held between 19th and 22nd of June 2019, in the city of São Paulo. The Congress was organised by the Parish of the Holy Trinity of the Episcopal Anglican Church in Brazil and Koinonia–Ecumenical Presence in Service. As we consider this congress a historic landmark in the debates concerning religions and sexualities that escape from cisheteronormativity in Brazil, in the course of this article, we propose to analyse the social and political conjuncture that motivated the event. In a second step, we will briefly describe the structure of the event, as well as its objectives, in order to understand the assumptions that guided the construction of the Letter of São Paulo, the official and public document of the Congress, approved in plenary by the participants. We believe that the Congress and the Letter of São Paulo have political potential, as they claim the rights of lesbian, gay, bisexual, transgender, intersex+ people as people of faith and denounce forms of oppression, exclusion and marginalisation reinforced by conservative and hegemonic religious discourses.

The multicultural work, The Dream of the Red Chamber, posits a field for exploring the interconnection between Confucian interpretations and its intrinsic Goddess narrative. In this article, I examine the reconciliation of the former with the latter. The immanent transcendence in Neo-Confucianism is not enough for interpreting this novel, for covering the question of a natural connection between Vermilion Pearl and Shen Ying, for a dichotomy of tian and the earth, the transcendent and the immanent. The Goddess narrative of repairing tian can rectify this difficult position and a nomadic spirituality forged in a mutually cultivating process is proposed, both to rescue the Confucian interpretation of the novel and to find a way of reconciling the Confucian ‘tian’ and the Goddess.