The story of Susanna and the Elders is one of the most interpreted and reproduced tales from the "Apocrypha". In its compact narrative, it touches on attempted rape, female sexuality, abuse of power, punishment for the wicked, and voyeurism. "The Good, the Bold, the Beautiful" argues that the story of Susanna was written in the first century BCE, and Clanton provides a brief description of that century. He performs a narrative-rhetorical reading of Susanna, and illustrates that the story uses sexual anxiety and desire to set up a moral dilemma for Susanna. That moral dilemma is resolved in two ways: Susanna's refusal to allow herself to be raped, and Daniel's intervention. Clanton argues that although the story has many mimetic features, it is the thematic function that is overriding, especially after Daniel's appearance. Put another way, the story's emphasis on Susanna, the Elders, and Daniel as "plausible people" is secondary to its stress on what those characters represent and the message it is relaying through those representations. Clanton analyzes chronologically selected aesthetic interpretations of the story found in the Renaissance. He shows that the prevailing artistic interpretation during the Renaissance focused on the mimetic, sexual aspects of the story because it deals with issues of patronage, and sex/gender that were current at the time. "The Good, the Bold, the Beautiful" argues that several Renaissance renderings provide counter readings that focus more on the value and themes in the story. These renderings provide models for readers to resist the sexually exploitative features of both the narrative and its interpretations. Clanton reflects on the need for the reader to resist potentially harmful interpretation, especially those that focus on the mimetic level of the story's rhetoric.

This collection is based on the premise that apocalyptic imagery and themes pervade not only cultural products that employ specifically biblical imagery but are also found in media that do not purport to impart biblical or even religious messages. Comic books and graphic novels are the focus here because, it is suggested, they are the medium that comes the closest to the imaginative malleability found in the history of biblical interpretation. In Part One, the focus is on Indie/Creator-owned works. Emily Laycock demonstrates the overwhelming influence of Herbert W. Armstrong and his apocalyptic Worldwide Church of God on Basil Wolverton's work, especially his biblical art. Aaron Kashtan then introduces us to Kevin Huizenga's short story, 'Jeepers Jacobs', in which the title character-a theologian whose main area of research is the Christian doctrine of Hell-tries to convert an acquaintance with odd and fatal results. In her chapter, Diana Green examines Alan Moore's Promethea, a character whose purpose is to initiate an Apocalypse but whose journey is much more complicated. Finally, A. David Lewis engages humorous and profane examples of apocalyptic imagery in the recent Indie comics Battle Pope and The Chronicles of Wormwood. Part Two examines more mainstream works and begins with Terry Ray Clark's adroit examination of how Kingdom Come utilizes both the functions and forms of ancient apocalyptic literature. Greg Stevenson then analyses a variety of texts- including X-Men: The Age of Apocalypse and issues 666 of Superman and Batman-to discern the way(s) in which the mythological language of apocalyptic and the mythology of superheroes interact. And finally, Greg Garrett provides a broad and thoughtful rumination on the two most widely read mainstream comics that deal with the End of Days: Kingdom Come and Watchmen.

The study of the reciprocal relationship between the Bible and popular culture has blossomed in the past few decades, and the time seems ripe for a broadly-conceived work that assesses the current state of the field, offers examples of work in that field, and suggests future directions for further study. This Handbook includes a wide range of topics organized under several broad themes, including biblical characters (such as Adam, Eve, David and Jesus) and themes (like Creation, Hell, and Apocalyptic) in popular culture; the Bible in popular cultural genres (for example, film, comics, and Jazz); and "lived" examples (such as museums and theme parks). The Handbook concludes with a section taking stock of methodologies and the impact of the field on teaching and publishing. The Oxford Handbook of the Bible and American Popular Culture represents a major contribution to the field by some of its leading practitioners, and will be a key resource for the future development of the study of both the Bible and its role in American popular culture.

This thoroughly revised edition includes 5 fascinating new chapters, covering music, film, television and cosplay. Comprised of 14 accessible and lively essays from a team of international contributors. Provides a set of practical and theoretical tools for learning and research, making it an essential read for students of Religion and Pop Culture.

This thoroughly revised edition includes 5 fascinating new chapters, covering music, film, television and cosplay. Comprised of 14 accessible and lively essays from a team of international contributors. Provides a set of practical and theoretical tools for learning and research, making it an essential read for students of Religion and Pop Culture.

In Theology and the Marvel Universe, fourteen contributors examine theological themes and ideas in the comic books, television shows, and films that make up the grand narrative of the Marvel Universe. Engaging in dialogue with theological thinkers such as Willie James Jennings, Franz Rosenzweig, Soren Kierkegaard, Rene Girard, Kelly Brown Douglas, and many others, the chapters explore a wide variety of topics, including violence, sacrifice, colonialism, Israeli-Palestinian relations, virtue ethics, character formation, identity formation, and mythic reinvention. This book demonstrates that the stories of Thor, Daredevil, Sabra, Spider-Man, Jessica Jones, Thanos, Luke Cage, and others engage not just our imagination, but our theological imagination as well.

In Theology and the Marvel Universe, fourteen contributors examine theological themes and ideas in the comic books, television shows, and films that make up the grand narrative of the Marvel Universe. Engaging in dialogue with theological thinkers such as Willie James Jennings, Franz Rosenzweig, Søren Kierkegaard, René Girard, Kelly Brown Douglas, and many others, thechapters explore topics such as violence, sacrifice, colonialism, Israeli-Palestinian relations, virtue ethics, character formation, identity formation, and mythic reinvention, among others. This book demonstrates that the stories of Thor, Daredevil, Sabra, Spider-Man, Jessica Jones, Thanos, Luke Cage, and others engage not just our imagination, but our theological imagination as well.