Analytic theology is sometimes said to be a research programme in search of a definition. What is it? A complete answer to that question might helpfully give some account of how analytic theology came to be – before considering what it is – and we shall do that presently. However, it is in fact fairly easy to give a preliminary working definition of analytic theology: it is an approach to the theological task that utilises the tools and methods of analytic philosophy. This will need to be finessed as we progress. But it will serve as a place to begin.

In an essay exploring how Christian ethics became distinct from Christian doctrine, Stanley Hauerwas writes: “Once there was no Christian ethics simply because Christians could not distinguish between their beliefs and their behaviour. They assumed that their lives exemplified (or at least should exemplify) their doctrines in a manner that made a division between life and doctrine impossible.”1 We could write similarly of public theology: “Once there was no public theology simply because Christians could not distinguish between their beliefs and the public implications of those beliefs. It took particular social, historical, and intellectual circumstances for a division between ‘theology’ and ‘public theology’ to seem possible.” In other words, historically contingent reasons led to the emergence of “public theology” as a theological discourse beginning in the 1970s.

This chapter argues that generic distinctions between the essay and the novel have historically been difficult to preserve, with many of the supposedly identifying features of each genre applying in practice to the other. The author surveys work by writers including Milan Kundera, Robert Musil, Zadie Smith, and Virginia Woolf.

This chapter surveys the history of nature writing and the nature essay, from American Transcendentalists such as Ralph Waldo Emerson, Henry David Thoreau, and Margaret Fuller to more recent writers such as Barry Lopez, Amitav Ghosh, and Camille T. Dungy. The author examines the political and scientific aspects of nature writing and the genre’s response to changing conceptions of “nature.”

This chapter engages various philosophical attempts to define and delimit the essay, and to use the form to do a kind of philosophy that became increasingly urgent in the shadow of twentieth-century atrocities. The author considers theories of the essay by Georg Lukács, Theodor Adorno, Roland Barthes, Walter Benjamin, Walter Pater, and others.

This chapter locates the origin of the online essay in the era of the pre-commercial Internet, when communication occurred largely over message boards, forums, and listservs. The author then charts the history of the essay, and essays by women in particular, across a variety of platforms and publications, including personal blogs, the Huffington Post, Jezebel, and BuzzFeed, before concluding with an argument for the emancipatory political potential of the personal essay.

This chapter argues that the personal essay came into being at the beginning of the twentieth century, evolving from the familiar essay favored by writers such as Charles Lamb and Virginia Woolf. Prior to the twentieth century, the essay as a form was assumed to be personal but only in a deliberately circumlocutory manner. But the pressure to constitute a stable self brought to bear by academic and other institutions gave rise to a new conception of the personal essay, and to confession more generally, as a vehicle of “spectacular personhood.”

The critical essay emerged in the eighteenth century in writing that described natural and artistic objects, and in the process inspired readers to think about the nature of their experience. This chapter traces the critical essay’s evolution from Joseph Addison’s Pleasures of the Imagination through the work of nineteenth-century essayists like Thomas De Quincey and William Hazlitt, culminating in the academic literary criticism of New Critics such as I. A. Richards and Cleanth Brooks and more recent practitioners such as D. A. Miller and Eve Kosofsky Sedgwick.

This chapter traces the history of the essay film from its origins in D. W. Griffith and Sergei Eisenstein (and theorizations by writers such as Hans Richter and Alexandre Astruc) to its manifestations in contemporary experimental cinema and video art installations such as John Akomfrah’s Vertigo Sea. The author argues that the essay film is uniquely positioned to incorporate and respond to political and social crisis.

This chapter details how the essay form participated in changes in conduct, tact, and ways of living in nineteenth-century England, promoting an “ethics of unknowing” that was constantly subject to experimentation and revision. Particular attention is paid to essayists such as William Hazlitt and Charles Lamb, who continued the Montaignean tradition in ways that responded to the urbanized modernity of the capitalist metropolis.

This chapter asserts the influence of Francis Bacon’s natural philosophy on the early modern English essay, noting in particular how the Baconian commitment to scientific experiment and empirical investigation informed the work of early essayists such as Robert Boyle, Samuel Hartlib, and William Cornwallis. The author argues that the humanist form of the essay was also harnessed to the practical and utilitarian ends of managed state capitalism, including agriculture and political economy.