The hypothesis that the Gospel of Mark was heavily influenced by Pauline theology and/or epistles was widespread in the nineteenth century, but fell out of favour for much of the twentieth century. In the last twenty years or so, however, this view has begun to attract renewed support, especially in English language scholarship. This major and important collection of essays by an international team of scholars seeks to move the discussion forward in a number of significant ways - tracing the history of the hypothesis from the nineteenth century to the modern day, searching for historical connections between these two early Christians, analysing and comparing the theology and christology of the Pauline epistles and the Gospel of Mark, and assessing their reception in later Christian texts. This major volume will be welcomed by those who are interested in the possible influence of the apostle to the Gentiles on the earliest Gospel.

Holy Monsters, Sacred Grotesques examines the intersection of religion and monstrosity in a variety of different time periods in the hopes of addressing two gaps in scholarship within the field of monster studies. The first part of the volume-running from the medieval to the Early Modern period-focuses upon the view of the monster through non-majority voices and accounts from those who were themselves branded as monsters. Overlapping partially with the Early Modern and proceeding to the present day, the contributions of the second part of the volume attempt to problematize the dichotomy of secular/religious through a close look at the monsters this period has wrought.

Where are you? Life is uncertain. Skyscrapers crash and so do stock markets. Bodies get broken, and so do relationships. Our health declines and marriages fail. Ground Zero brings us to places where we see how little is in our control, and how God still gives people a second chance to bounce back in life.

This book offers the first-ever survey of artistic depictions of the legend of Saint George defeating the dragon. The earliest existing references to this episode in the hagiography of Saint George date from the 11th century, and the mythical conflict has entertained the imaginations of artists ever since. Copiously illustrated, this book includes varied representations in painting, sculpture, engraving, and more by artists from Raphael and Peter Paul Rubens to Odilon Redon and Andy Warhol. In addition, the artists David Claerbout, Giuseppe Penone, Luc Tuymans, and Angel Vergara Santiago have been invited to contribute their own interpretations of the story, and these new works are also featured. The contemporary perspective is further explored in the book through essays that trace the shifting resonance of the allegory, positing that it has evolved to become symbolic of man's internal struggle as he attempts to fulfill his destiny. Distributed for Mercatorfonds Exhibition Schedule: Musee des Arts Contemporains au Grand-Hornu (10/18/15-01/17/16)

David Moessner proposes a new understanding of the relation of Luke's second volume to his Gospel to open up a whole new reading of Luke's foundational contribution to the New Testament. For postmodern readers who find Acts a 'generic outlier,' dangling tenuously somewhere between the 'mainland' of the evangelists and the 'Peloponnese' of Paul-diffused and confused and shunted to the backwaters of the New Testament by these signature corpora-Moessner plunges his readers into the hermeneutical atmosphere of Greek narrative poetics and elaboration of multi-volume works to inhale the rhetorical swells that animate Luke's first readers in their engagement of his narrative. In this collection of twelve of his essays, re-contextualized and re-organized into five major topical movements, Moessner showcases multiple Hellenistic texts and rhetorical tropes to spotlight the various signals Luke provides his readers of the multiple ways his Acts will follow "all that Jesus began to do and to teach" (Acts 1:1) and, consequently, bring coherence to this dominant block of the New Testament that has long been split apart. By collapsing the world of Jesus into the words and deeds of his followers, Luke re-configures the significance of Israel's "Christ" and the "Reign" of Israel's God for all peoples and places to create a new account of 'Gospel Acts,' discrete and distinctively different than the "narrative" of the "many" (Luke 1:1). Luke the Historian of Israel's Legacy combines what no analysis of the Lukan writings has previously accomplished, integrating seamlessly two 'generically-estranged' volumes into one new whole from the intent of the one composer. For Luke is the Hellenistic historian and simultaneously 'biblical' theologian who arranges the one "plan of God" read from the script of the Jewish scriptures-parts and whole, severally and together-as the saving 'script' for the whole world through Israel's suffering and raised up "Christ," Jesus of Nazareth. In the introductions to each major theme of the essays, this noted scholar of the Lukan writings offers an epitome of the main features of Luke's theological 'thought,' and, in a final Conclusions chapter, weaves together a comprehensive synthesis of this new reading of the whole.

Conflict has been an inescapable facet of religion from its very beginnings. This volume offers insight into the mechanisms at play in the centuries from the Jesus-movement's first attempts to define itself over and against Judaism to the beginnings of Islam. Profiling research by scholars of the Centre for Early Christian Studies at Australian Catholic University, the essays document inter- and intra-religious conflict from a variety of angles. Topics relevant to the early centuries range from religious conflict between different parts of the Christian canon, types of conflict, the origins of conflict, strategies for winning, for conflict resolution, and the emergence of a language of conflict. For the fourth to seventh centuries case studies from Asia Minor, Syria, Constantinople, Gaul, Arabia and Egypt are presented. The volume closes with examinations of the Christian and Jewish response to Islam, and of Islam's response to Christianity. Given the political and religious tensions in the world today, this volume is well positioned to find relevance and meaning in societies still grappling with the monotheistic religions of Judaism, Christianity, and Islam.

For missionaries in the twenty-first century, change is necessary in order for them to continue to be strong and viable. "Growing Missionaries Biblically" takes a fresh look at Christian missions and proposes a comprehensive, biblical missionary training program for short- and longterm missions. Its objective is to produce an effective, cross cultural ministry for Africa and, with some modifications, globally. The goal is to provide a postimperial, post-colonial model for training missionaries by looking to biblical guidance on the subject.

Author Dr. R. Zarwulugbo Liberty is a native of Liberia, Africa, with biblical, theological, and practical insights for prospective and seasoned missionaries and their supporters. The information he provides can successfully launch and sustain these missionaries in the course of their mission work. In order to accomplish his goals, he proposes the use of bicultural missionaries.

A bicultural missionary is one who has studied both his own culture and the culture of the people to be served. This missionary will not equate his or her culture with Christianity and will know and understand the practices of the culture he or she serves that can easily be incorporated and assimilated into Christianity. "Growing Missionaries Biblically" proposes a vital curriculum for missionary preparation for cross-cultural missionary service.

The articles republished in this volume are ground-breaking studies that employ a large body of religious figural imagery of Byzantine lead seals ranging from the 6th to the 15th century. A number of the studies present tables, charts and graphs in their analysis of iconographic trends and changing popularity of saintly figures over time. And since many of the seals bear inscriptions that include the names, titles or offices of their owners, information often not given for the patrons of sacred images in other media, these diminutive objects permit an investigation into the social use of sacred imagery through the various sectors of Byzantine culture: the civil, ecclesiastical and military administrations. The religious figural imagery of the lead seals, accompanied by their owners' identifying inscriptions, offers a means of investigating both the broader visual piety of the Byzantine world and the intimate realm of their owners' personal devotions. Other studies in the volume are devoted to rare or previously unknown sacred images that demonstrate the value of the iconography of Byzantine lead seals for Byzantine studies in general. This volume includes various articles focusing on sphragistic images of saints and on the religious imagery of Byzantine seals as a means of investigating the personal piety of seal owners, as well as the wider realm of the visual piety and religious devotions of Byzantine culture at all levels. A companion volume includes studies dedicated to the image of Christ, primarily found on imperial seals, various images of the Virgin, and narrative or Christological scenes. (CS1086).

The articles republished in this volume are ground-breaking studies that employ a large body of religious figural imagery of Byzantine lead seals ranging from the 6th to the 15th century. A number of the studies present tables, charts and graphs in their analysis of iconographic trends and changing popularity of saintly figures over time. And since many of the seals bear inscriptions that include the names, titles or offices of their owners, information often not given for the patrons of sacred images in other media, these diminutive objects permit an investigation into the social use of sacred imagery through the various sectors of Byzantine culture: the civil, ecclesiastical and military administrations. The religious figural imagery of the lead seals, accompanied by their owners' identifying inscriptions, offers a means of investigating both the broader visual piety of the Byzantine world and the intimate realm of their owners' personal devotions. Other studies in this volume are devoted to rare or previously unknown sacred images that demonstrate the value of the iconography of Byzantine lead seals for Byzantine studies in general. This volume includes studies dedicated to the image of Christ, primarily found on imperial seals, various images of the Virgin, and narrative or Christological scenes. A companion volume presents various articles focusing on sphragistic images of saints and on the religious imagery of Byzantine seals as a means of investigating the personal piety of seal owners, as well as the wider realm of the visual piety and religious devotions of Byzantine culture at all levels. (CS1085)

Waking Up Grey offers readers ways to reconnect with their God-given capacity to create. Join others in an intimate journey of rediscovery. Experience how God has wired many to participate in and enjoy the creative process. Readers include professional artists desiring more fullness, those pondering the question of their creative existence, and everyone in between. Waking Up Grey be read as part of group study or individually.

Religion, Art, and Visual Culture gathers together the most current scholarship on art, religion, visual culture, and cultural studies. The book approaches the study of world religions through the human, meaning-making activity of seeing. The essays move between specific visual subjects (painting, landscape gardens, calligraphy, architecture, mass media) and the broader theoretical discourses relevant to religion and the wider humanities today. Topics covered include art and perception; the iconicity of Jesus Christ; the relation of word and image in Islam and divine images in India.

Ground-breaking study of the enigmatic and unique tabernacles from fourteenth-century Italy, which for the first time combined relics and images. Images and relics were central tools in the process of devotional practice in medieval Europe. The reliquary tabernacles that emerged in the 1340s, in the area of Central Italy surrounding the city of Siena, combined images and relics, presented visibly together, within painted and decorated wooden frames. In these tabernacles the various media and materials worked together to create a powerful and captivating ensemble, usable in several contexts, both in procession and static, as the centre of focussed, prayerful attention. This book looks at Siena and Central Italy as environments of artistic invention, and at Sienese painters in particular as experts in experimentation whose ingenuity encouraged the development of this new form of devotional technology. It is the first full-length study to focus in depth on the materiality of these tabernacles, investigating the connotations and effects of the materials from which they were made. It examines especially the effect of bringing relics and images together, and considers how the impressions of variety and abundance created by the multiplication of materials give birth to meaning and encourage certain kinds of action or thought.

There has never been a display like it. This is the catalogue to an ambitious exhibition at the Goldsmiths' Hall, London, which will comprise 250 gold and silver objects and sets of objects spanning the history of the Church from the earliest possible times to the present day. A foreword by the Rt Revd Rowan Williams, Archbishop of Canterbury, and twelve essays by distinguished authorities will illustrate aspects of evolving liturgy and Church history such as the medieval Mass, Church patronage in the Middle Ages, and the English Reformation. Historical themes from post-Reformation centuries will include Catholic recusancy, the 17th- and 18th-century altar service and the medieval revivals that mirrored the Victorian Tractarian movement. Important commissions from the 1980s and 1990s for Lichfield Cathedral and York Minster will also be discussed. Essays will be accompanied by new photography of key objects, many of them the'secret' treasure of individual parish churches. The guiding principle of the exhibition is that all loans be in the possession of the Church or other religious foundations. Objects have been selected from cathedrals, Oxford colleges and'royal peculiars' such as St George's Chapel at Windsor. The majority are from parish churches great and small up and down the country.

From a South African Passion Play to Turkish Sufi tourism, from contemporary street preaching in America to public Hindu rites in India, from cloistered prayer in 17th century France to the queer politics of 'the closet' today, Performing Religion in Public brings together an international array of voices that grapple with the important role of religious performance in our secular public lives. Because traditional notions of the public sphere have emphasized rational discourse in a secular setting, religion has often been excluded. But religious life is not impersonal argument; rather, it is passionately performed, crossing boundaries between public and private, the personal and the political, and claiming a significant role in modern democracies, from everyday cultural interactions to political advocacy. By focusing on the performative nature of both religion and publics, this timely volume offers a fresh and fruitful re-conception of the relationship between religion and the public sphere.

Tradition and Transformation in Christian Art approaches tradition and transculturality in religious art from an Orthodox perspective that defines tradition as a dynamic field of exchanges and synergies between iconographic types and their variants. Relying on a new ontology of iconographic types, it explores one of the most significant ascetical and eschatological Christian images, the King of Glory (Man of Sorrows). This icon of the dead-living Christ originated in Byzantium, migrated west, and was promoted in the New World by Franciscan and Dominican missions. Themes include tensions between Byzantine and Latin spiritualities of penance and salvation, the participation of the body and gender in deification, and the theological plasticity of the Christian imaginary. Primitivist tendencies in Christian eschatology and modernism place avant-garde interest in New Mexican santos and Greek icons in tradition.

The book investigates the aesthetic theology embedded in the Franciscan artistic tradition. The novelty of the approach is in applying concepts gleaned from Franciscan textual sources to create a deeper understanding of how art in all its sensual forms was foundational to the Franciscan milieu. Chapters range from studies of statements about aesthetics and the arts in theological textual sources to examples of visual, auditory, and tactile arts communicating theological ideas found in texts. The essays cover not only European art and textual sources, but also Franciscan influences in the Americas found in both texts and artifacts.

The Bible contains passages that allow both scholars and believers to project their hopes and fears onto ever-changing empirical realities. By reading specific biblical passages as utopia and dystopia, this volume raises questions about reconstructing the past, the impact of wishful imagination on reality, and the hermeneutic implications of dealing with utopia - "good place" yet "no place" - as a method and a concept in biblical studies. A believer like William Bradford might approach a biblical passage as utopia by reading it as instructions for bringing about a significantly changed society in reality, even at the cost of becoming an oppressor. A contemporary biblical scholar might approach the same passage with the ambition of locating the historical reality behind it - finding the places it describes on a map, or arriving at a conclusion about the social reality experienced by a historical community of redactors. These utopian goals are projected onto a utopian text. This volume advocates an honest hermeneutical approach to the question of how reliably a past reality can be reconstructed from a biblical passage, and it aims to provide an example of disclosing - not obscuring - pre-suppositions brought to the text.

Offering snapshots of mercantile devotion to saints in different regions, this volume is the first to ask explicitly how merchants invoked saints, and why. Despite medieval and modern stereotypes of merchants as godless and avaricious, medieval traders were highly devout - and rightly so. Overseas trade was dangerous, and merchants' commercial activities were seen as jeopardizing their souls. Merchants turned to saints for protection and succor, identifying those most likely to preserve their goods, families, reputations, and souls. The essays in this collection, written from diverse angles, range across later medieval western Europe, from Spain to Italy to England and the Hanseatic League. They offer a multi-disciplinary examination of the ways that medieval merchants, from petty traders to influential overseas wholesalers, deployed the cults of saints. Three primary themes are addressed: danger, community, and the unity of spiritual and cultural capital. Each of these themes allows the international panel of contributors to demonstrate the significant role of saints in mercantile life. This book is unique in its exploration of saints and commerce, shedding light on the everyday role religion played in medieval life. As such, it will be of keen interest to scholars of religious history, medieval history, art history, and literature.

First published in 1914, volume one of this study, published under the patronage of the government of His Highness the Maharaja of Travancore, sought to add to the growing literature on Hindu iconography and mythology for a European audience with the notable inclusion of Sanskrit sources along with extensive photographs of Indian sculpture. Gopinatha Rao begins with an exploration of the history of image-worship in India, followed by a discussion of their usage, classification and production. This detailed introduction is then applied to case studies of Ganapati, Vishnu, Garuda and Ayudha-purushas, Adityas, including the Nava-grahas and Devi.

The studies in this volume all deal with images and texts that relate to the veneration of the saints in Byzantium after the 9th century. Some papers are devoted to the church calendar and the annual commemorations of hundreds of saints through liturgical poetry and sequences of isolated images in fresco, icon painting and illuminated manuscripts. Others are concerned with the longer and rarer, narrative cycles devoted to the life of a single saint, cycles found mainly in fresco and on the so-called vita icons that first appear in the East in the late 12th century. Additional studies deal with the developing role of icons in liturgical ceremonies, and with images of a saint being approached by a supplicant or patron. A final section is devoted to places made holy by the saints, and to their holy relics.

Perceptions of the Body and Sacred Space in Late Antiquity and Byzantium seeks to reveal Christian understanding of the body and sacred space in the medieval Mediterranean. Case studies examine encounters with the holy through the perspective of the human body and sensory dimensions of sacred space, and discuss the dynamics of perception when experiencing what was constructed, represented, and understood as sacred. The comparative analysis investigates viewers' recognitions of the sacred in specific locations or segments of space with an emphasis on the experiential and conceptual relationships between sacred spaces and human bodies. This volume thus reassesses the empowering aspects of space, time, and human agency in religious contexts. By focusing on investigations of human endeavors towards experiential and visual expressions that shape perceptions of holiness, this study ultimately aims to present a better understanding of the corporeality of sacred art and architecture. The research points to how early Christians and Byzantines teleologically viewed the divine source of the sacred in terms of its ability to bring together - but never fully dissolve - the distinctions between the human and divine realms. The revealed mechanisms of iconic perception and noetic contemplation have the potential to shape knowledge of the meanings of the sacred as well as to improve our understanding of the liminality of the profane and the sacred.

David Moessner proposes a new understanding of the relation of Luke's second volume to his Gospel to open up a whole new reading of Luke's foundational contribution to the New Testament. For postmodern readers who find Acts a 'generic outlier,' dangling tenuously somewhere between the 'mainland' of the evangelists and the 'Peloponnese' of Paul-diffused and confused and shunted to the backwaters of the New Testament by these signature corpora-Moessner plunges his readers into the hermeneutical atmosphere of Greek narrative poetics and elaboration of multi-volume works to inhale the rhetorical swells that animate Luke's first readers in their engagement of his narrative. In this collection of twelve of his essays, re-contextualized and re-organized into five major topical movements, Moessner showcases multiple Hellenistic texts and rhetorical tropes to spotlight the various signals Luke provides his readers of the multiple ways his Acts will follow "all that Jesus began to do and to teach" (Acts 1:1) and, consequently, bring coherence to this dominant block of the New Testament that has long been split apart. By collapsing the world of Jesus into the words and deeds of his followers, Luke re-configures the significance of Israel's "Christ" and the "Reign" of Israel's God for all peoples and places to create a new account of 'Gospel Acts,' discrete and distinctively different than the "narrative" of the "many" (Luke 1:1). Luke the Historian of Israel's Legacy combines what no analysis of the Lukan writings has previously accomplished, integrating seamlessly two 'generically-estranged' volumes into one new whole from the intent of the one composer. For Luke is the Hellenistic historian and simultaneously 'biblical' theologian who arranges the one "plan of God" read from the script of the Jewish scriptures-parts and whole, severally and together-as the saving 'script' for the whole world through Israel's suffering and raised up "Christ," Jesus of Nazareth. In the introductions to each major theme of the essays, this noted scholar of the Lukan writings offers an epitome of the main features of Luke's theological 'thought,' and, in a final Conclusions chapter, weaves together a comprehensive synthesis of this new reading of the whole.

Frederick Buechner is one of the most gifted writers of his generation, and his legacy casts a long shadow over Christian letters today. As a memoirist, he opened up an entirely new way to think about the genre. As a novelist, he was a finalist for the Pulitzer. And as a theologian and preacher, he pioneered the art of making theology accessible for a popular audience. Yet for all Buechner's enormous influence, many readers today are unfamiliar with his work, or have read him only in one genre. In this book, Buechner expert Jeffrey Munroe presents a collection of the true "essentials" from across Buechner's diverse catalog, as well as an overview of Buechner's life and a discussion of the state of his literary legacy today. Here is Buechner in all his complex glory, ready to delight and inspire again.

Maternal Bodies in the Visual Arts brings images of the maternal and pregnant body into the centre of art historical enquiry. By exploring religious, secular and scientific traditions as well as contemporary art practices, it shows the power of visual imagery in framing our understanding of maternal bodies and affirming or contesting prevailing maternal ideals. This book reassesses these historical models and, in drawing on original case studies, shows how visual practices by artists may offer the means of reconfiguring the maternal.
This book will appeal to students, academics and researchers in art history, gender studies and cultural studies, as well as to any readers with interests in the maternal and visual culture. It is based on visual case studies drawn from the UK, USA and Europe, which make it very attractive to an international readership. Maternal bodies in the visual arts is ideally placed to capture a growing post- and undergraduate market in maternal studies, which is beginning to emerge as a field of study in the UK and USA with courses in a wide range of social science and humanities disciplines now including the maternal as a key theme.