Primitive Judaism is the earliest system of thought that sought to explain the concepts of divinity, humanity, and life on the planet. What's more, it is Moses who deserves the credit for the systematization of basic, primitive Tanakian Judaism. In King David's Naked Dance, author Allan Russell Juriansz defines the primitive theology of Tanakian Judaism that obeys the Tanak as the sole canon of the Hebrew people.

A sequel to Juriansz' first book-The Fair Dinkum Jew, which calls for a reformation in Israel and worldwide Jewry-King David's Naked Dance sends a message to the Hebrew people to relearn Tanakian Judaism and live by it. Using the writing of several Talmudic rabbis and Jewish reformers, Juriansz presents a discussion of the Tanak as the only sacred canon and shows its messages of the work of God to create, redeem, and glorify His world and His people.

King David's Naked Dance calls for the world's Jewry and Israel to unite in the primitive Judaism, a splendid redemptive religion that needs to be embraced, defended, and propagated.

More than ever before, scholars recognize that nearly every form of religion or spirituality has a vital connection with art. World religions, from Hinduism to The Eastern Orthodox Church, have a long and rich relationship with an array of artistic traditions. In recent decades, the academic study of religion and the arts has burgeoned. Yet a broad and serious consideration of the topic has yet to reach readers. The first comprehensive book of its kind, The Oxford Handbook of Religion and the Arts provides expert guidance to artistry and aesthetic theory in religion. Edited by Frank Burch Brown, the Handbook brings together an international team of leading scholars to present an interdisciplinary volume of nearly forty original essays. Readers are presented the main topics, issues, methods, and resources for the study of religious and theological aesthetics. The essays give light to the dynamic interaction of world religions and art making. The volume ranges from antiquity to present day to examine idolatry, aesthetics in liturgy, and the role of art in popular religion. Ranging from music and poetry to architecture and film, the Handbook crosses the boundaries of different faiths and art forms to survey established and pioneering voices within the field. An authoritative text for scholars and students, The Oxford Handbook of Religion and the Arts will remain an invaluable resource for years to come.

Steven M. Studebaker proposes a Pentecostal approach to a major Christian doctrine, the atonement. The book moves Pentecostal theology of the atonement from a primarily Christocentric and crucicentric register to one that articulates the pneumatological and holistic nature of Pentecostal praxis. Studebaker examines the irony of Classical Pentecostalism relying on the Christocentrism of Protestantism evangelical atonement theology to articulate its experience of the Holy Spirit, as well as the Pneumatological nature of Pentecostal praxis. He then develops a Pentecostal theology of atonement based on the biblical narrative of the Spirit of Pentecost and returns to re-imagine an expanded vision of Pentecostal praxis based on the theological formation of the biblical narrative. The result is a Pentecostal atonement theology that shows the integrated nature of pneumatology, creation and Christology in the biblical narrative of redemption. It gives theological expression to not only the pneumatological nature of Pentecostal praxis, but also the fundamental role of the Holy Spirit in the biblical narrative of redemption. The book challenges popular western atonement theologies to re-think their Christocentrism and crucicentrism as well as their atomistic tendency to separate soteriology into objective (Christological) and subjective (pneumatolgical) categories.

Hegel makes philosophical proposals concerning religion and Christianity that demand critical reflection from contemporary theology. Possible defences and criticisms are given in Hegelian discourse, which raise important questions in current theological inquiry.This religious enquiry runs through publications and writings produced during the development of Hegel's systematic philosophy. De Nys considers the understanding of religion and Christianity that Hegel develops in the "Phenomenology of Spirit". The discussion of religious involvement gives special attention to questions concerning religious discourse, which Hegel addresses in his treatment of representational thinking, including Hegel's critique of Schleiermacher.This leads to a discussion of the problem of the relation between the world and God and the issue of God's transcendence, which requires further analysis of the relation of representational and speculative thinking. These discussions provide a framework for considering Hegel's understandings of specific Christian mysteries. The Hegelian conception of the Trinity, the mysteries of Creation, Incarnation and reconciled in dwelling are considered in connection with biblical conceptions of the Trinity.The conclusion examines critical problems surrounding Hegel's essential proposals about religion and Christianity, as well as contributions that Hegel makes to, and the challenges his thinking poses to, contemporary theological inquiry. Throughout, the discussions emphasize an understanding of Hegel's views concerning religion and Christianity as a resource for critical reflection in contemporary theology."The Philosophy and Theology" series looks at major philosophers and explores their relevance to theological thought as well as the response of theology.

The modern political idea of jihad-a violent struggle against corrupt or anti-Islamic regimes-is essentially the brainchild of one man who turned traditional Islamic precepts inside out and created the modern radical political Islamist movement. Using the evolution of Sayyid Qutb's life and writings, Musallam traces and analyzes Qutb's alienation and subsequent emergence as an independent Islamist within the context of his society and the problems that it faced. Radicalized following his stay in the United States in the late 1940s and during his imprisonment from 1954 to 1964, Qutb would pen controversial writings that would have a significant impact on young Islamists in Egypt for decades following his death and on global jihadist Islamists for the past quarter century. Since September 11, 2001, the West has dubbed Qutb the philosopher of Islamic terror and godfather ideologue of al-Qaeda. This is the first book to examine his life and thought in the wake of the events that ignited the War on Terrorism. A secular man of letters in the 1930s and 1940s, Qutb's outlook and focus on Quranic studies underwent drastic changes during World War II. The Quran became a refuge for his personal needs and for answers to the ills of his society. As a result, he forsook literature permanently for the Islamic cause and way of life. His stay in the United States from 1948 to 1950 reinforced his deeply held belief that Islam is man's only salvation from the abyss of Godless materialism he believed to be manifest in both capitalism and communism. Qutb's active opposition to the secular policies of Egyptian President Nasser led to his imprisonment from 1954 to 1964, during which his writings called for the overthrow of Jahili (pagan) governments and their replacement with a true and just Islamic society. A later arrest and trial resulted in his execution in August 1966.

Once upon a time there lived upon an island a merry and innocent people, mostly shepherds and tillers of the earth. They were republicans, like all primitive and simple souls; they talked over their affairs under a tree, and the nearest approach they had to a personal ruler was a sort of priest or white witch who said their prayers for them. They worshi-pped the sun, not idolatrously, but as the golden crown of the god whom all such infants see almost as plainly as the sun. Now this priest was told by his people to build a great tower, pointing to the sky in salutation of the Sun-god; and he pondered long and heavily before he picked his materials. For he was resolved to use nothing that was not almost as clear and exquisite as sunshine itself; he would use nothing that was not washed as white as the rain can wash the heavens, nothing that did not sparkle as spotlessly as that crown of God. He would have nothing grotesque or obscure; he would not have even anything emphatic or even anything mysterious. He would have all the arches as light as laughter and as candid as logic. He built the temple in three concentric courts, which were cooler and more exquisite in substance each than the other. For the outer wall was a hedge of white lilies, ranked so thick that a green stalk was hardly to be seen; and the wall within that was of crystal, which smashed the sun into a million stars. And the wall within that, which was the tower itself, was a tower of pure water, forced up in an everlasting fountain; and upon the very tip and crest of that foaming spire was one big and blazing diamond, which the water tossed up eternally and caught again as a child catches a ball.