Daniel Hernández

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This means that when I disable God the Father (Chapter 1), make the Holy Spirit indecent (Chapter 2), and disfigure God the Son (Chapter 3), I am not making claims about God’s nature itself. Rather, each rupture to the systematic theological imaginary rearranges it so it can be performed anew. Chapters 4 to 6 then perform these doctrines in multiple modes of drag. None of them directly represents or argues for a theology of the cross. But each one grapples with performing theology from it.
Transgressive Devotion: Theology as Performance Art
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