The relationship of theology and play with special emphasis on the contributions of Glenn Bannerman

James G Hughes

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The relationship of theology and play with special emphasis on the contributions of Glenn Bannerman

Public Deposited

MLA citation style (9th ed.)

James G Hughes. The Relationship of Theology and Play with Special Emphasis On the Contributions of Glenn Bannerman. Columbia Theological Seminary. rim.ir.atla.com/concern/etds/0c780a16-8f01-467b-b64a-6f15bd109a69.

APA citation style (7th ed.)

J. G. Hughes. The relationship of theology and play with special emphasis on the contributions of Glenn Bannerman. https://rim.ir.atla.com/concern/etds/0c780a16-8f01-467b-b64a-6f15bd109a69

Chicago citation style (CMOS 17, author-date)

James G Hughes. The Relationship of Theology and Play with Special Emphasis On the Contributions of Glenn Bannerman. Columbia Theological Seminary. https://rim.ir.atla.com/concern/etds/0c780a16-8f01-467b-b64a-6f15bd109a69.

Note: These citations are programmatically generated and may be incomplete.

Creator

James G Hughes

Rights Statement

In Copyright

Abstract

The 1970s saw a proliferation of writing on the subject of theology and play. Since that time, there has been little or no thought given to the subject. This project seeks to explore the relationship between theology and play while addressing the question: Why does the church seem so reluctant to play? An overview of play theology is presented including the thought of Huizinga, Moltmann, Keen, Berryman, and Johnston. A discussion of psychological play theory is included considering the work of Freud, Piaget, Sutton-Smith, and Winnicott. This overview shows both common points of understanding as well as important distinctions in play theory. A new perspective of play is offered that focuses on the idea of God as the initiator of play as an act of grace and on human play as an appropriate response to that grace. This new perspective presupposes a theology of love and freedom rather than fear and control. The many contributions of Glenn Bannerman are examined. As a practitioner rather than theorist, Bannerman embodies the new perspective of play in his methods and actions. These methods and actions are offered as a model of play at its best.

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