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This book explores the role of aesthetic experience in our perception and understanding of the holy. Richard Viladesau's goal is to articulate a theology of revelation, examined in relation to three p

This book provides a major study of the drawings, paintings and carvings of the crucifixion from tenth- and eleventh-century England, placing these works of art within the context of the tenth-century monastic revival. The drawings and paintings of the crucifixion are discussed in relation to the literature, theology, liturgy and devotional practices of the late Anglo-Saxon period in order to reveal the richness and subtlety of religious belief at this time. Late Anglo-Saxon religious art is shown to have played a central role in the monastic life; it called to mind the gospel events and set out their theological significance; it demonstrated the truth of the gospel message; it moved men's hearts, allowing them to experience the presence of Christ and to respond as though they had actually been present at His death.

Far from merely reinvigorating relativism, postmodernism has detected and expressed in our time a powerful nihilating process of which truth and reality itself are the final casualties; and with these morality and religion. Beginning from the theological reaches of philosophy, this book argues that gods played a crucial part in modern philosophy, even when it was most critical of them; that the dominant nihilism of Derrida is really an excessive and misleading outcome of a contemporary philosophy which could otherwise resonate with all that is best in our evolutionary image of the universe; that moralists who turn to art in order to overcome the fact–value version of this deadly dualism do not thereby rule out religion; and that a Christian theology which recognises the evolutionary and historical conditions of faith and revelation is once again producing a theology that builds upon the best of contemporary philosophy and science.

Far from merely reinvigorating relativism, postmodernism has detected and expressed in our time a powerful nihilating process of which truth and reality itself are the final casualties; and with these morality and religion. Beginning from the theological reaches of philosophy, this book argues that gods played a crucial part in modern philosophy, even when it was most critical of them; that the dominant nihilism of Derrida is really an excessive and misleading outcome of a contemporary philosophy which could otherwise resonate with all that is best in our evolutionary image of the universe; that moralists who turn to art in order to overcome the fact–value version of this deadly dualism do not thereby rule out religion; and that a Christian theology which recognises the evolutionary and historical conditions of faith and revelation is once again producing a theology that builds upon the best of contemporary philosophy and science.

In this, his second book about the essence and depth of Samuel Beckett's thinking and literary art, John Calder analyses the dualism of Beckett's theological writing, his debt to the Gnostics, Manicha

What is the theological significance of art? Why has the Church always encouraged the arts? What is so profoundly human about the arts? InA Wounded Innocence Alejandro R. Garcia-Rivera answers these q

For all their reputed and professed preoccupation with the afterlife, the Byzantines had no systematic conception of the fate of the soul between death and the Last Judgement. Death and the Afterlife in Byzantium marries for the first time liturgical, theological, literary, and material evidence to investigate a fundamental question: what did the Byzantines believe happened after death? This interdisciplinary study provides an in-depth analysis and synthesis of hagiography, theological treatises, apocryphal texts and liturgical services, as well as images of the fate of the soul in manuscript and monumental decoration. It also places the imagery of the afterlife, both literary and artistic, within the context of Byzantine culture, spirituality, and soteriology. The book intends to be the definitive study on concepts of the afterlife in Byzantium, and its interdisciplinary structure will appeal to students and specialists from a variety of areas in medieval studies.

Borrowing from science the stance of critical realism, this study justifies claims of truth in art and theology arguing that works of art are theological by their very nature and that they convey the

Pastor and Laity in the Theology of Jean Gerson explores the pastoral teaching of one of Europe's most influential churchmen of the early fifteenth century. Chancellor of the University of Paris from 1395 to 1429, Gerson is probably best known for his activities towards ending the Great Schism. But behind his public life lay a deep concern for the spiritual welfare of the people. Through an examination of Gerson's sermons and writings for the laity, and of his many works giving guidance to bishops and parish priests about their roles as pastors, preachers and confessors, the book throws light on what the late medieval, pre-Reformation Church was teaching the laity, and also on popular religious mentality in the period. The topics dealt with range from matters of high theological import such as justification, predestination and mysticism to the seven capital sins and all their branches, the art of preaching, women, marriage and children.

In this 2002 book, Tim Gorringe reflects theologically on the built environment as a whole. Drawing on a wide range of both theological and social-scientific sources, Professor Gorringe explores Christianity in its urban settings, focussing on the use of space, design, architecture, and town planning to make a theological critique. After considering the divine grounding of constructed space, he looks at the ownership of land, the issues of housing, town and country, and the city, and then considers the built environment in terms of community and art. The book concludes with two chapters that set the whole within the framework of the environmental crisis and asks what directions the Church should be looking for in building for the future. This interesting book will challenge not only theologians, ethicists and sociologists of religion but also church teachers and professionals.

In this 2002 book, Tim Gorringe reflects theologically on the built environment as a whole. Drawing on a wide range of both theological and social-scientific sources, Professor Gorringe explores Christianity in its urban settings, focussing on the use of space, design, architecture, and town planning to make a theological critique. After considering the divine grounding of constructed space, he looks at the ownership of land, the issues of housing, town and country, and the city, and then considers the built environment in terms of community and art. The book concludes with two chapters that set the whole within the framework of the environmental crisis and asks what directions the Church should be looking for in building for the future. This interesting book will challenge not only theologians, ethicists and sociologists of religion but also church teachers and professionals.

Pastor and Laity in the Theology of Jean Gerson explores the pastoral teaching of one of Europe's most influential churchmen of the early fifteenth century. Chancellor of the University of Paris from 1395 to 1429, Gerson is probably best known for his activities towards ending the Great Schism. But behind his public life lay a deep concern for the spiritual welfare of the people. Through an examination of Gerson's sermons and writings for the laity, and of his many works giving guidance to bishops and parish priests about their roles as pastors, preachers and confessors, the book throws light on what the late medieval, pre-Reformation Church was teaching the laity, and also on popular religious mentality in the period. The topics dealt with range from matters of high theological import such as justification, predestination and mysticism to the seven capital sins and all their branches, the art of preaching, women, marriage and children.

Milani reflects on the machine that is grace, mythological and religious images, and forms of representation. Among specific topics are the setting for enchantment, theological grace and sublime grace

In this book, Beatrice E. Kitzinger explores the power of representation in the Carolingian period, demonstrating how images were used to assert the value and efficacy of art works. She focuses on the cross, Christianity's central sign, which simultaneously commemorates sacred history, functions in the present, and prepares for the end of time. It is well recognized that the visual attributes of the cross were designed to communicate its theology relative to history and eschatology; Kitzinger argues that early medieval artists also developed a formal language to articulate its efficacious powers in the present day. Defined through form and text as the sign of the present, the image of the cross articulated the instrumentality of religious objects and built spaces. Whereas medieval and modern scholars have pondered the theological problems posed by representation, Kitzinger here proposes a visual argument that affirms the self-reflexive value of art works in the early medieval West. Int