Harry Emerson Fosdick was one of the most popular liberal preachers of the early 20th century, and his The Meaning of Prayer is considered by many one of the finest studies of the meditative communion with God. This lovely little book features daily devotional readings focused on understanding prayer, reflecting upon: . The Naturalness of Prayer . Prayer and the Goodness of God . Hindrances and Difficulties . Unanswered Prayer . Prayer as Dominant Desire . Unselfishness in Prayer ..and other issues arising from conversing with the divine. This warm, friendly guidebook to a profoundly personal act remains an important exploration of one of the world's dominant faiths... just as it was when it was first published in 1915. American theologian HARRY EMERSON FOSDICK (1878-1969) was born in New York, educated at Colgate and Columbia Universities, and served as professor of practical theology at Union Theological Seminary from 1915 to 1946. Among his many works are A Guide to Understanding the Bible (1938) and A Book of Public Prayers (1960).

This is a study of the social construction and the impression management of the public forms of worship of Catholicism and Anglicanism. Interest centres on the dilemmas of the liturgical actors in handling a transaction riddled with ambiguities and potential misunderstandings. Simmel, Berger and Goffman are used in an original manner to understand these rites which pose as much of a problem for sociology as for their practitioners.;These rites are treated as forms of play and hermeneutics is linked to a negative theology to understand their performative basis. The study is an effort to link sociology to theology in a way that serves to focus on an issue of social praxis.

In popular thought, Christianity is often figured as being opposed to dance. Conventional scholarship traces this controversy back to the Middle Ages. Throughout the medieval era, the Latin Church denounced and prohibited dancing in religious and secular realms, often aligning it with demonic intervention, lust, pride, and sacrilege. Historical sources, however, suggest that medieval dance was a complex and ambivalent phenomenon. During the High and Late Middle Ages, Western theologians, liturgists, and mystics not only tolerated dance; they transformed it into a dynamic component of religious thought and practice. This book investigates how dance became a legitimate form of devotion in Christian culture. Sacred dance functioned to gloss scripture, frame spiritual experience, and imagine the afterlife. Invoking numerous manuscript and visual sources (biblical commentaries, sermons, saints' lives, ecclesiastical statutes, mystical treatises, vernacular literature, and iconography), this book highlights how medieval dance helped shape religious identity and social stratification. Moreover, this book shows the political dimension of dance, which worked in the service of Christendom, conversion, and social cohesion. In Ringleaders of Redemption, Kathryn Dickason reveals a long tradition of sacred dance in Christianity, one that the professionalization and secularization of Renaissance dance obscured, and one that the Reformation silenced and suppressed.

Written as the First World War was finally drawing to a close, A. Clutton-Brock's reflections on the Kingdom of Heaven examine this challenging theological concept in light of the great religious, political and moral uncertainties thrown up by the conflict. In particular, Clutton-Brock contends that historically Christian orthodoxy has not sufficiently emphasised the role of the Kingdom in salvation, given its importance in the ministry and teaching of Christ. To preserve a religious vision capable of interacting with the modern, industrial world, Christian orthodoxy must carefully consider the scope and importance of political practice, the role of the individual in the realisation of the Kingdom, and the profound implications of reconciling the facts of the universe with the most sincerely held beliefs.

2013 Catholic Press Award Winner What can we learn from early Christian imagery about the theological meaning of baptism? Robin Jensen, a leading scholar of early Christian art and worship, examines multiple dimensions of the early Christian baptismal rite. She explores five models for understanding baptism--as cleansing from sin, sickness, and Satan; as incorporation into the community; as sanctifying and illuminative; as death and regeneration; and as the beginning of the new creation--showing how visual images, poetic language, architectural space, and symbolic actions signify and convey the theological meaning of this ritual practice. Considering image and action together, Jensen offers a holistic and integrated understanding of the power of baptism. The book is illustrated with photos.

Everyone is happy to see Mary in the creche at Christmastime, but by the time the Magi head back East after the Feast of the Epiphany, Christians of many traditions are often ready to place Mary to the side, too. But in Blessed Is She, Timothy Perry presents a Mary who belongs in Lent as much as in Advent, who shows what it means to die and live with the crucified and risen Jesus.Drawing primarily from the Gospel of Luke, this lovely book of devotions sketches a Lenten Mary who teaches us about being disciples. The result is a complex, inviting, strong character a disciple to be emulated by all Christians, especially during this holy season. With a meditation for each day of Lent, along with reflection questions, this is a thought-provoking volume for private use or parish study.

According to legend, the Mandylion was an image of Christ's face imprinted on a towel, kept in Edessa. This acheiopoieton image ("not made by human hands") disappeared in the eighteenth century. The first records of another acheiropoieton relic appeared in mid-fourteenth century France: a long linen bearing the image of Jesus' corpse, known nowadays as the Holy Shroud of Turin. Some believe the Mandylion and the Shroud to be the same object, first kept in Edessa, later translated to Constantinople, France and Italy. Andrea Nicolotti traces back the legend of the Edessean image in history and art, focusing especially on elements that could prove its identity with the Shroud, concluding that the Mandylion and the Shroud are two distinct objects.