Spring 2003 Conference Papers
- Matthew as Literature: A Close Reading of the Passion and Resurrection by Allysan Barnes
- Poetry of Motion and the Aural Imagination in The Brothers Karamozov by Stephen Barnes
- The Prophetic Role of Intercession with Emphasis on Jeremiah by Mark Boone
- A Christian Response to Film by Thomas Brandon
- The Magician‘s Bargain: Science and Technology and The Abolition of Man by Charles Russell Brown
- Bad Reputations: Kate, Kat, and Ten Things I Hate about Shrew by Stephen Kyle Davis
- Constantine the Great: Unity and Ambiguity by Brian Franklin
- Affectionate Families: Artistic Implications of the Family Community by Jared Griffin
- Jehovah Java: Lessons for the Church from a Coffeehouse by Britt Herrington
- The Fallacy of Foreknowledge: A Study of Romans 8:29-30 by Brent Hobbs
- The Spiritual Aesthetics of Greek Tragedy: A deductive analysis of Nietzsche's tragic worldview by Chad Kidd
- Metaphysically Challenged: Dorian and Sibyl’s Confusion of Reality and Non-Reality in The Picture of Dorian Gray by Hope Kidd
- A Moral and Scriptural Assessment of Euthanasia and the Sanctity of Life: Is Euthanasia Ever Justified? by Luke E. Lin
- Luther’s ‘The Freedom of a Christian’: A Theological Analysis by Anita Scott
- Reconstruction of Tradition: The Rebirth of Liturgy in the Postmodern Church by Matthew Slay
- The Romantic Self in Albert Camus’ "The Guest" and "The Adulterous Woman" by Pamela D. Spates
- Bertrand Russell’s Why I Am Not a Christian - A Response by Michael Stone
- Which Comes First? God and the Self in Calvin and Descartes by James Taylor
- Deconstructing Woody: Woody Allen’s Life and Work by Lydia Tonoyan
- Rendered Unto God, Punished by Caesar: An Analysis on the Reynolds Case on Polygamy and Religious Freedom by Julie Wallace
- Money and Ministers: A Pauline Perspective by Cole Wilkins
- Sensuousness, Immediacy, and the Eternal in Mozart's Don Giovanni: Kierkegaard's Philosophy of Music by Christi Williams
- The Age of Revolution: An Analysis of “My Kinsman, Major Molineux,” by Nathaniel Hawthorne by Sarah Wronko