Elizabeth A. Clark, The Fathers Refounded: Protestant Liberalism, Roman Catholic Modernism, and the Teaching of Ancient Christianity in Early Twentieth-Century America

2020 ◽  
Vol 51 (1) ◽  
pp. 120-123
Author(s):  
David A. Hollinger ◽  

2020 ◽  
Vol 89 (2) ◽  
pp. 409-412
Author(s):  
Elizabeth A. Clark

My thanks to Maria Doerfler for organizing a session at the January 2020 meeting of the American Society of Church History on my book The Fathers Refounded: Protestant Liberalism, Roman Catholic Modernism, and the Teaching of Ancient Christianity in Early Twentieth-Century America, to the editors of Church History for suggesting that the (revised) papers from the session could find a home in print, and, especially, to the panelists for their insightful comments.


2020 ◽  
Vol 89 (2) ◽  
pp. 390-391
Author(s):  
Maria E. Doerfler

The turn of the twentieth century represents an incisive moment in religious thought and theological education. Scholars across Europe and North America were wrestling with the twin influences of Protestant Liberalism and Roman Catholic Modernism, the questions they raised for how to conceive of the origins of Christianity, and how to make them palatable to a rapidly changing world. In her most recent monograph, The Fathers Refounded: Protestant Liberalism, Roman Catholic Modernism, and the Teaching of Ancient Christianity in Early Twentieth-Century America, Elizabeth A. Clark explores these questions in the lives and work of three of the era's most influential figures. Her work stands at the center of this forum, with four distinguished scholars considering its implications.


Author(s):  
Melinda Powers

The Introduction begins by providing a brief overview of the reception of Greek drama by under-represented communities in nineteenth- and early-twentieth-century America. After situating the book’s topic within this historical timeline, it proceeds to explain the development of the project, the focus on live theatre, the choice of productions, and the reasons for them. It defines terms, provides disclaimers, explains the methodology used, clarifies the topic, situates it within its historical moment, summarizes each of the chapters, describes the development of the ‘democratic turn’ in Greek drama, and finally speculates on the reasons for the appeal of Greek drama to artists working with under-represented communities.


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