In this article, I take up Uri McMillan’s work in Embodied Avatars to rethink the subject–object relationship in women’s preaching. In performance art, the subject (the artist) fashions herself into an object (the art). I stretch the performance art genre to include preachers Rachel Baker, Jarena Lee, and Florence Spearing Randolph, arguing that these women have strategically performed objecthood to navigate gendered and racialized constraints in Christian proclamation. Examining these three women preachers through the lens of performing objecthood opens up theological understandings of how the Spirit works in a world marked by social sin (sexism and racism). Contrary to theologians who describe submission to the Spirit as self-effacement, I show how submission to the Spirit can counter worldly authorities, while enabling women preachers to transform perceptions of gender and race in a liberative way.

中文翻译：

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通过阿凡达表演充实精神：作为女性传教士中的阻力的对象性——雷切尔·贝克、杰瑞娜·李和弗洛伦斯·斯皮林·伦道夫

在这篇文章中，我利用 Uri McMillan 在 Embodied Avatars 中的工作来重新思考女性讲道中的主客关系。在行为艺术中，主体（艺术家）将自己塑造成一个对象（艺术）。我将表演艺术类型扩展到包括牧师雷切尔·贝克、杰瑞娜·李和弗洛伦斯·斯皮林·伦道夫，认为这些女性战略性地表演了客观性，以应对基督教宣讲中的性别和种族限制。通过表演客观性的镜头检查这三位女传教士，开启了对圣灵如何在一个以社会罪恶（性别歧视和种族主义）为标志的世界中运作的神学理解。与将顺服圣灵描述为自我谦卑的神学家相反，我展示了顺服圣灵可以如何对抗世俗的权威，