What "don't" Christians believe? Is Jesus really divine? Is Jesus really human? Can God suffer? Can people be saved by their own efforts?
The early church puzzled over these questions, ruling in some beliefs and ruling out others. "Heresies and How to Avoid Them" explains the principal ancient heresies and shows why contemporary Christians still need to know about them. These famous detours in Christian believing seemed plausible and attractive to many people in the past, and most can still be found in modern-day guises. By learning what it is that Christians don't believe--and why--believers today can gain a deeper, truer understanding of their faith.

Taking seriously the practice and not just the theory of music, this ground-breaking collection of essays establishes a new standard for the interdisciplinary conversation between theology, musicology, and liturgical studies. The public making of music in our society happens more often in the context of chapels, churches, and cathedrals than anywhere else. The command to sing and make music to God makes music an essential part of the DNA of Christian worship. The book's three main parts address questions about the history, the performative contexts, and the nature of music. Its opening four chapters traces how accounts of music and its relation to God, the cosmos, and the human person have changed dramatically through Western history, from the patristic period through medieval, Reformation and modern times. A second section examines the role of music in worship, and asks what-if anything-makes a piece of music suitable for religious use. The final part of the book shows how the serious discussion of music opens onto considerations of time, tradition, ontology, anthropology, providence, and the nature of God. A pioneering set of explorations by a distinguished group of international scholars, this book will be of interest to anyone interested in Christianity's long relationship with music, including those working in the fields of theology, musicology, and liturgical studies.

How can theology think and talk about history? Building on the work of the major twentieth-century theologian Hans Urs von Balthasar as well as entering into sharp critical debate with him, this book sets out to examine the value and the potential of a 'theodramatic' conception of history. By engaging in dialogue not only with theologians and philosophers like von Balthasar, Hegel and Barth, but with poets and dramatists such as the Greek tragedians, Shakespeare and Gerard Manley Hopkins, the book makes its theological principles open and indebted to literary forms, and seeks to show how such a theology might be applied to a world intrinsically and thoroughly historical. By contrast with theologies that stand back from the contingencies of history and so fight shy of the uncertainties and openness of Christian existence, this book's theology is committed to taking seriously the God who works in time.

Was Jesus divine? Was Jesus human? Could God suffer? Can people save themselves by their own efforts? Do Christian ministers have to be perfect? These and other questions were answered by the early Christian Church so as to rule in certain orthodox beliefs and rule out certain heretical beliefs. Anyone could be a Christian, but a Christian could not believe simply anything. Here, twelve top theologians, all practising Christians, tackle ancient heresies and show why the contemporary Church still needs to know about them. The contributors argue that heresies are never finally defeated but always continue in some form or other as live options for belief. Christians therefore need to remember what these great early heresies were and why they were ruled out, or else risk falling prey to their modern-day manifestations. The essays included here are scholarly but accessible, academic but highly relevant. They show how attractive and plausible heresies are and how the Church has always required intellectual effort, moral courage and political skill to resist them.

How can theology think and talk about history? Building on the work of the major twentieth-century theologian Hans Urs von Balthasar as well as entering into sharp critical debate with him, this book sets out to examine the value and the potential of a 'theodramatic' conception of history. By engaging in dialogue not only with theologians and philosophers like von Balthasar, Hegel and Barth, but with poets and dramatists such as the Greek tragedians, Shakespeare and Gerard Manley Hopkins, the book makes its theological principles open and indebted to literary forms, and seeks to show how such a theology might be applied to a world intrinsically and thoroughly historical. By contrast with theologies that stand back from the contingencies of history and so fight shy of the uncertainties and openness of Christian existence, this book's theology is committed to taking seriously the God who works in time.

This book was first published in 2005. How will the study of theology and the religions in higher education be shaped in the coming century? This book offers several different perspectives on this field of study with suggestions for a future in which theology and religious studies are pursued together. There are examples of the interplay of theology and religious studies with reference to a range of topics: God, love, scripture, worship, argument, reconciliation, friendship and justice. The contributors practise different disciplines within the field, often in combination, covering theology, philosophy, history, phenomenology, literary studies, hermeneutics, politics, ethics and law. Their specialisms embrace Judaism, Christianity, Islam and Indian religions, with particular focus on the field in Europe, the US and South Africa. Recognizing the significance of the religions and of higher education, the book explores what best practice can be adopted to fulfil responsibilities towards academic disciplines, the religions and the societies of which they are part.

Anna Freeman Bentley (b. Freeman, 1982) is a painter based in London. Her practice explores the built environment, architecture, and interiors, inviting emotive, psychological, and semiotic readings of space. With an intense, regularly dark palette and energetic yet often intricate brushwork, her paintings depict all manner of places - derelict factories and warehouses, baroque buildings, shops, cafes, and modern industrial and corporate architecture. With a particular focus on the relationships between the design of architecture, its function and use, how these uses change over time, and how streets, areas, communities, and cities decline, regenerate, and gentrify, Freeman Bentley's practice documents the changing vocabulary of architecture and captures some of the complex dynamics, atmospheres, politics, and states of mind that these places engender. This, the artist's first monograph, features over forty paintings spanning her career to date, offering a journey through the built environment that takes the viewer into realms as diverse as psychogeography and heteropias, romanticism and modernism. From the needs and desires of individuals to those of the different communities that make up urban life in cities and towns today, her paintings open up questions about displacement and replacement, decay and rebirth, change and transformation, public and private, social and economic mobility, aspiration and desire, buildings and people. Seeking to go beyond the visible and tangible and to explore ideas of faith and the sacred within space, Freeman Bentley's work looks through the fabric of our physical environment to ask about what lies behind, into the dialogue between matter and spirit. The publication features newly commissioned texts by London-based curator and writer Michele Robecchi, New York-based art writer and editor Marina Cashdan, and Ben Quash, Professor of Christianity and the Arts at King's College London. Edited by Matt Price and designed by Joe Gilmore / Qubik, this hardback monograph presents the arresting and engaging work of one of the UK's most promising emerging painters. Freeman Bentley studied painting at Chelsea College of Art and Design before graduating with an MA from the Royal College of Art in 2010. She has had solo exhibitions in Berlin, Venice, and California, residencies in London with the Florence Trust and with Pied a Terre Michelin-starred restaurant, and participated in group exhibitions including the Prague Biennale and the inaugural East London Painting Prize, 2014.

Reflections for Daily Prayer has nourished thousands of Christians for a decade with its inspiring and informed weekday Bible reflections. Now, in response to demand, Reflections for Sundays combines material from over the years with new writing to provide high-quality reflections on the Principal Readings for Sundays and major Holy Days. Contributors include some of the very best writers from across the Anglican tradition who have helped to establish it as one of the leading daily devotional volumes today. For each Sunday and major Holy Day in Year B, Reflections for Sundays offers: * full lectionary details for the Principle Service * a reflection on the Old Testament reading * a reflection on the Epistle * a reflection on the Gospel It also contains a substantial introduction to the Gospels of Mark and John, written by renowned Bible teacher Paula Gooder.

Found Theology is a book about how theology deals with newly-encountered (of 'found') material in time, and about the role of imagination in these encounters. The book is unusual and ground-breaking exercise in the interdisciplinary discussion of theology and the arts. Ben Quash brings together elements of doctrine, scripture, the fine arts and the experiences of everyday life. He looks closely at Christian artistic traditions via a number of case studies that represent a rich source of examples of the way that the new times properly stimulate new expressions of known and loved things. Quash engages closely with some serious and prominent American scholars, namely Peter Ochs, Daniel W. Hardy, C.S. Peirce and David H. Kelsey.

William Blake famously imagined 'Jerusalem builded here' in London. But Blake was not the first or the last to visualise a shimmering new metropolis on the banks of the River Thames. For example, the Romans erected a temple to Mithras in their ancient city of Londinium; medieval Londoners created Temple Church in memory of the Holy Sepulchre in which Jesus was buried; and Christopher Wren reshaped the skyline of the entire city with his visionary dome and spires after the Great Fire of London in 1666. In the modern period, the fabric of London has been rewoven in the image of its many immigrants from the Caribbean, South Asia, Eastern Europe and elsewhere. While previous books have examined literary depictions of the city, this is the first examination of the religious imaginary of the metropolis through the prism of the visual arts. Adopting a broad multicultural and multi-faith perspective, and making space for practitioners as well as scholars, its topics range from ancient archaeological remains and Victorian murals and cemeteries to contemporary documentaries and political cartoons.

With a Foreword by Fergus Kerr and an Afterword by Rowan WilliamsIn an age when theology appears fragmented as never before, this volume intends to show how von Balthasar is one of the very few contemporary theologians to have demonstrated how the patterns and resources of the Christian tradition have extraordinary pertinence today.The authors represent a new generation of Anglican theologians sympathetic to von Balthasar's thought, exploring it both in order to discover its fundamental dynamics and to see how it may be brought into new dialogues.The authors represent the 'Radical Orthodoxy' movement in Anglican theology, and are sympathetic to von Balthasar's thought, exploring it both in order to discover its fundamental dynamics and to see how it may be brought into new dialogues.