CHRIST AND EVOLUTION: A DRAMA OF WISDOM?1

Abstract This paper argues that a genuine engagement of Christianity with evolution needs to include a discussion of Christology. Further, it develops a particular approach to Christology through a theo‐dramatic account of incarnation. The somewhat static post‐Chalcedon theological categories of divine and human natures are hard to square with contemporary evolutionary accounts of human origins. Once the divine Logos is portrayed in the active categories of Wisdom it becomes easier to envisage divine and creaturely wisdom coexisting in the person of Christ. I argue, in particular, that a focus on God's agency through a modified version of Hans Urs von Balthasar's account of theo‐drama invites participation and affirms human agency in a way that grand narratives do not. More particularly, drawing on examples from hominid evolution, contemporary discussion of paleontology and cooperative evolutionary theories, I suggest that the most convincing accounts of evolutionary biology fit into this theo‐dramatic account more readily than alternatives. As such, in the spirit of Robert Boyle, this paper deliberately blurs the categories of revealed and natural theology by arguing that we can make sense of the former through concentration on the latter.     

Psychocultural Interpretations and Dramas: Identity Dynamics in Ethnic Conflict

Ethnic identity connects individuals through perceived common past experiences and expectations of shared future ones. Identity is concerned with group judgments and judgments about groups and their motives. This article explores identity through the case of Loyal Order Protestant parades in Northern Ireland and the concepts of psychocultural interpretations (shared, deeply held worldviews found in group narratives) and psychocultural dramas (conflicts over competing, and apparently irresolvable, claims that engage the central elements of a group's historical experience). Psychocultural dramas are polarizing events whose manifest content involves non-negotiable cultural claims, threats, and/or rights that become important because of their connections to core metaphors and group narratives that embody a group's identity. In ethnic conflicts, psychocultural dramas arise over competing claims that evoke deeply rooted dimensions of the conflict which cannot be settled by reference to more general rules or higher authority. Psychocultural dramas are tools of analysis for understanding the centrality of cultural identity and ritual in ethnic conflict and for the redefinition of such conflicts in ways that increase the chances for managing them constructively. Examining the psychocultural dramas surrounding parades disputes in Northern Ireland suggests why and how some conflicts are more amenable to constructive outcomes than others.     

INSIGHT AGONISTES: A READING OF SOPHOCLES'S OEDIPUS THE KING

In this reading of Sophocles's Oedipus the King, the author suggests that insight can be thought of as the main protagonist of the tragedy. He personifies this depiction of insight, calling it Insight Agonistes, as if it were the sole conflicted character on the stage, albeit masquerading at times as several other characters, including gods, sphinxes, and oracles. This psychoanalytic reading of the text lends itself to an analogy between psychoanalytic process and Sophocles's tragic hero. The author views insight as always transgressing against, always at war with a conservative, societal, or intrapsychic chorus of structured elements. A clinical vignette is presented to illustrate this view of insight.     

Hamlet: plea for a measure of normality

The author first considers issues in psychoanalytic interpretations of literary characters, especially the question of treating the character as fiction (the aesthetic illusion) or as a real person. The position he adopts is to interpret Hamlet as a potential person, created by Shakespeare and an expression of Shakespeare’s actual – and intuitive – view of man.

With a synopsis of the tragedy and the context of its creation as background, the author then reflects on questions concerning the play. How does Shakespeare present the characters? Is Hamlet’s madness pretended or real? Which conflicts does he handle in the course of the play? Has Oedipal dynamics a role as motivational factor in his mind?

Hamlet is irrational, impulsive, emotional, inhibited, brooding, suspicious, revengeful, condemning and much more. But, in the view of the author, he is all this in a human, ‘normal’ way. There is nothing convincingly pathological or constricted in his character. ‘Un-normal’ is his intelligence and his wit. Hamlet – an intelligent, reflected, resourceful prince in late Renaissance – who has wrestle with a madhouse of political intrigues, family murders and deceitful friends.

Hamlet in Shakespeare’s text – a fairly normal person in quite a mad world.     

The messianic temporality of theatre in I. L. Peretz’s At Night in the Old Marketplace

Theatre, as an art form that unfolds through time and moulds temporal experience, engages with its surrounding culture’s temporal imagination, the ways in which society conceives time, its movement, structures, and meaning. I. L. Peretz’s enigmatic and avant-garde Yiddish drama, At Night in the Old Marketplace, utilizes this potential of the theatre to tackle the question of messianic time and the ways in which it can be realized on the stage. By evoking Jewish traditions regarding the Messiah, religious nocturnal rituals, and the dynamics of Carnival, Peretz reconfigures messianic time as a radical, recurring yet fleeting, temporal experience. Theatrical temporality has affinities with messianic time because both are transitory and charged, condensed and ephemeral, and disjointed from the experience of time in everyday life. Rather than imagining messianic time as an eternal future to be awaited, Peretz’s play invites us to ponder in the theatre about the possibility of a messianically charged, albeit always fleeting, present.     

A longitudinal study on the relationship between adolescents’ medical drama viewing and speeding

The present study aimed to examine whether watching medical drama had a long-term protective effect on speeding behavior. Specifically, this research examined the extent to which medical drama viewing in adolescence predicts risk perceptions, crash fear, speeding attitudes and self-reported speeding behavior in early adulthood. Using a longitudinal research method, 487 adolescents (M_age = 17.7 at baseline) who responded to an earlier survey were re-interviewed five years later. Structural equation modeling indicated that more medical drama viewing at baseline was associated with increased risk perception and higher driving-related fear five years later. The fear of being involved in a traffic crash appeared to be associated with less favorable attitudes toward speeding. Furthermore, in line with the expectations, these speeding attitudes were a significant predictor of self-reported speeding behavior. These results help to provide a better understanding of the relationship between media use and subsequent risk-taking, and have implications for prevention efforts.     

Acting Theory Applied to Counseling: Stanislavski Continues to Contribute to Psychic Healing

ABSTRACT

This article explores a specific aspect of Stanislavski’s methods of training actors to examine the potential benefits for helping clients in the cultivation of new perceptions through empathy, which may, in turn, help toward psychic healing. Stanislavski’s methods of training actors, which is rooted in understanding the human condition, are the underpinnings for most modern acting theories. This discussion builds an additional bridge between acting theory and counseling theory to investigate additional therapeutic benefits of acting in a clinical setting. This article adds to the conversation of the possibility of expanding applications of drama therapy based on specific aspects of acting theories.