Tag: new release

Kevin Bauder’s Eight Characteristics of Hyper-Fundamentalism

~ Bob Hayton ~ 72 Comments

A new book forthcoming from Zondervan includes a chapter from Dr. Kevin Bauder of Central Baptist Theological Seminary in Minneapolis. I won’t talk about the book other than to mention its title, and that it is worth getting! The book is Four Views on the Spectrum of Evangelicalism, edited by Collin Hansen and Andrew Naselli.

I’m still only about half-way through a galley copy of this book, but my eyes lit up when I came across Bauder’s characteristics of hyper-fundamentalism. I think he has captured lightning in a bottle with this list of descriptors, since for a very long time I’ve struggled to pinpoint the cross-over line from reasonable fundamentalism to fundamentalism run wild.

I just have to share Bauder’s eight characteristics of hyper-fundamentalism with you, but I strongly encourage you to get the book and read his entire essay. This quotation is from a pre-published version of the book so it may diverge in part from the final published product.

————————

First, hyper-fundamentalists often understand fundamentalism in terms of loyalty to an organization, movement, or even leader. They equate the defense of the faith with the prosperity of their organization or its leader. Someone who criticizes or contradicts it is subjected to censure or separation.

Second, hyper-fundamentalists sometimes adopt a militant stance regarding some extrabiblical or even antibiblical teaching. [He sites KJV-onlyism as an example.] …When individuals become militant over such nonbiblical teachings, they cross the line into hyper-fundamentalism.

Third, hyper-fundamentlists understand separation in terms of guilt by association. To associate with someone who holds any error constitutes an endorsement of that error….

Fourth, hyper-fundamentalists are marked by an inability to receive criticism. For them, questioning implies weakness or compromise. Any criticism — especially if it is offered publicly — constitutes an attack….

A fifth characteristic of hyper-fundamentalism is anti-intellectualism. Some hyper-fundamentalists view education as detrimental to spiritual well-being…. Colleges, when they exist, are strictly for the purpose of practical training.

Sixth, hyper-fundamentalists sometimes turn nonessentials into tests of fundamentalism. For example, some hyper-fundamentalists assume that only Baptists should be recognized as fundamentalists…. One’s fundamentalist standing may be judged by such criteria as hair length, musical preferences, and whether one allows women to wear trousers.

Seventh, hyper-fundamentalists occasionally treat militant political involvement as a criterion for fundamentalist standing. During the 1960s and 1970s, anticommunism was a definitive factor for some fundamentalists. Its place has now been taken by antiabortion and antihomosexual activism. Most fundamentalists do agree about these issues, but hyper-fundamentalists make militant activism a necessary obligation of the Christian faith.

Eight and last, hyper-fundamentalists sometimes hold a double standard for personal ethics. They see themselves engaged in an ecclesiastical war, and they reason that some things are permissible in a warfare that would not be permissible in ordinary life. They may employ name-calling, half-truths, and innuendo as legitimate weapons. They may excuse broken promises and political backstabbing.

Hyper-fundamentalism takes many forms, including some that I have not listed. Nevertheless, these are the forms that are most frequently encountered. When a version of fundamentalism bears one or more of these marks, it should be viewed as hyper-fundamentalist…

Hyper-fundamentalism is not fundamentalism. It is as a parasite on the fundamentalist movement. For many years it was simply a nuisance, largely ignored by mainstream fundamentalists. Ignoring the problem, however, permitted it to grow. While statistics are not available, hyper-fundamentalists now constitute a significant percentage of self-identified fundamentalists, perhaps even a majority. They have become the noisiest and often the most visible representatives of fundamentalism. They may be the only version of fundamentalism that many people ever see.

–Excerpted from Kevin Bauder’s chapter on Fundamentalism, in Four Views of the Spectrum of Evangelicalism (Zondervan, 2011).

————————

Let me know what you think. Doesn’t Bauder nail it with this description? I think so.

“The Constantine Codex” by Paul L. Maier

~ Bob Hayton

Only if Indiana Jones were to discover a lost book of the Bible, battle his way past Islamic terrorists and later sneak into the inner recesses of the Vatican — only then, would an adventure story compare favorably with those envisioned by Dr. Paul Maier, professor of ancient history at Western Michigan University. Dr. Maier is famous for his academic work which includes accessible editions of Eusebius and Josephus. His fiction works, however, have sold millions of copies, and with A Skeleton in God’s Closet, he virtually created a new genre of fiction: the archaeological/theological thriller.

The Constantine Codex, released by Tyndale House this May, is the third book in the “Skeleton” series. It continues the story of archaeologist and Christian scholar Jonathan Weber and his escapades. The tale begins with the discovery of a few leaves from the lost works on early church history written by Hegesippus, on whom Eusebius leaned in part for his monumental work on the early church. The contents of those leaves hint at a previously unknown book from the pen of Luke, the author of a Gospel (bearing his name), and the book of Acts — both of which are in the Christian New Testament. Fascinated by the implications, Jonathan Weber and his wife Shannon (who unearthed the missing leaves) plan to embark on a mission of discovery — searching for authentication of their discovery, and the cooperation of the librarians of many of the greatest treasures of ancient Biblical manuscripts. Before they can leave, a world-wide commotion erupts over the Arabic translation of Weber’s influential textbook on the New Testament, and Weber ends up on the receiving end of a fatwa (a death warrant given by a Muslim ayatollah). With the CIA fearing for their safety, the Webers push on and embark on their trip in pursuit of a lost chapter of church history. What they eventually find will change their lives, and the history of Christianity, forever.

This fast-paced tale takes the Webers from the Roman tomb of St. Paul, to a dark subterranean chamber reserved for manuscripts in disrepair, and leads to a world-class debate with a leading Muslim intellectual in no less a venue than the Hagia Sophia. And all of this pales in comparison to the incredible discovery of lost portions of the New Testament and the challenge this presents to Weber and his foundation of leading Christian scholars of multiple disciplines.

As Maier weaves this tale he includes equal potions of intrigue and suspense, with wonder and raw emotion. His technical discussion of the authentication of manuscript finds and ancient scribal practices is spot on, and his ability to describe and draw you into the scene is superb. Archaeology, theology, textual criticism, church history and intra-church politics — all of these disciplines and more are tapped as Maier expertly crafts this story. The result is a tale which is intellectually satisfying, experientially rich and a fantastic read to boot.

Maier is a master writer, and The Constantine Codex stands testimony to that. Having not read Maier before, I was pleased to find that this did not detract from following the storyline of this book at all. If you’re looking for a great adventure tale, and especially if you are fascinated by archaeology, theology or textual studies, you will want to read this book.

Disclaimer: This book was provided by Tyndale House Publishers. I was under no obligation to offer a favorable review.

You can purchase a copy of this book from any of these fine retailers: Christianbook.com, Amazon.com or direct from Tyndale.

Book Excerpt — Singing the Songs of Jesus: Revisiting the Psalms by Michael LeFebvre

~ Bob Hayton

I’m reading through a new Christian Focus book entitled Singing the Songs of Jesus: Revisiting the Psalms by Michael LeFebvre. In this book, the author explains why singing the Psalms was so precious to saints through all ages, prior to the rise of the 18th century hymnwriting movement. LeFebre succeeds in making the Psalms come alive and in equipping the modern church with tools for recovering the use of the Psalms.

I wanted to offer an excerpt which has captivated me. LeFebvre describes the difference between singing to Christ, and singing with Christ. He avers that when Christians sing the Psalms, we are singing with Christ in a unique way.

You can learn more about the book at Christianfocus.com, and in the next couple weeks, I’ve heard this book will be showcased at their new Christian Focus Booknotes blog, too.

Without further ado, I provide an extended book excerpt. For more, you’ll have to get the book!

In the Gospels, Jesus often took the Psalms to his lips as his own praises. He sang Psalm 41 as his own song: ‘My close friend in whom I trusted…has lifted his heel against me’ (Ps. 41:9/John 13:18). He sang Psalm 118, not as a common experience of God’s people but as his own experience as our true king: ‘The stone that the builders rejected has become the cornerstone’ (Ps. 118:22/Matt. 21:42). Jesus identified himself as the anointed king in psalm 110: ‘The LORD said to my Lord, “Sit at my right hand.”‘ (Ps. 110:1/Mark 12:36). In these and other examples, Jesus frequently showed himself to be the Son of David by taking the Psalms of David to his lips as his own songs (e.g., Matt. 27:46/Ps. 22:1; Luke 23:46/Ps. 31:5; John 2:17/Ps. 69:9).

In fact here is Jesus’ own explanation about his relationship to the Psalms of David:

As Jesus taught in the temple, he said, ‘How can the scribes say that the Christ is the son of David? David himself, in the Holy Spirit, declared, ‘The Lord said to my Lord, Sit at my right hand, until I put your enemies under your feet.’ David himself calls him Lord. So how is he his son (Mark 12:35-37, quoting Ps. 110:1)?

Jesus says that David wrote Psalms for a descendant who would be greater than himself — the coming Christ. In the Holy Spirit, David understood that his songs would ultimately be taken up by the Christ.

Peter makes a similar point in his sermon at Pentecost. Peter preached from a string of Old Testament texts, including several Psalms (Pss. 16, 89, 110, 132)…. According to Peter, David wrote the Psalms ‘knowing’ that God had promised the Christ would come from his line. And he wrote Psalm 16 ‘foreseeing’ the resurrection of Christ. The Psalms were born out of the experiences of David and his heirs, but David wrote with awareness of the coming Son of David who would ultimately take the Psalms to his lips as our perfect king and songleader.

From the beginning, the Psalms were composed for Jesus — as his songs. No wonder the New Testament church never set the Psalmbook aside. They took up the Psalms in great delight, singing in them with Jesus.

Let me offer a word picture to anchor this principle. Imagine that a friend of yours has invited you to a concert. A famous choir is in town, and your friend bought two tickets. As you slip into your seats in the concert hall, a one hundred voice choir lines the platform before you. And the music begins. The singing is superb. It could not be better. It is such a pleasant evening, you and your friend decide to return the next week for another concert.

The next week, you return to the hall and find the same choir singing again. This time, however, a world famous tenor is going to be on the platform with them. As you sit in the audience listening, you are entranced by the beauty of the soloist’s voice, surrounded majestically by the hundred-voice choir behind him. Perhaps you will come again another time to hear more.

What is the difference between these to, imagined performances? In the first, the audience is listening to the voices of a hundred singers. The song is the choir’s song. In the second performance, however, the audience is listening to the voice of one singer accompanied by a hundred others. But it is the one singer in front who stands under the spotlight. His song is being performed, and the rest join him in singing it.

In Christian worship, God is the audience of our singing. Many congregations today see themselves as that hundred-person choir singing to God. They imagine that they stand as a mass of worshipers, singing their songs of faith to him. That is the expectation behind modern hymns and praise songs. Modern hymns do not say, for example, ‘What a friend I, Joseph Scriven, have in Jesus.’ Hymnwriters compose songs for the congregation to sing as their song to God, with the song’s original author and his experience disappearing from view.

This is where the Psalms are radically different. The Psalms are composed for a use like the second performance imagined above. Our divinely appointed leader, King Jesus, leads our praise. Jesus sings his own songs in his own words (composed prophetically for him). They are his praises of the Father which he calls us, as his subjects, to join him in singing. Rather than disappearing from view, we are supposed to sing in conscious identification with Jesus as our Psalm leader, and with his experience of the cross and resurrection before us.

[emphasis added, from pg. 51-54]

Disclaimer: This book was provided by Christian Focus Publications. I was under no obligation to offer a favorable review.

You can pick up a copy from Amazon.com, Monergism Books, or direct from Christian Focus.