Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

This is an introductory guide to the four New Testament Gospels as overlapping accounts of the life, death and resurrection of Jesus, each with their own distinctive emphases and concerns. Part One deals first with the fact that there are four Gospels in the canon and looks at how the fourfold Gospel emerged. The literary relationships between the Gospels are dealt with next, followed by the composition of the Gospels. Part Two looks at each Gospel, its structure, contents, style and narrative technique, its presentation of Jesus and its particular interests and themes. Part Three, the main section of the book, takes six key events in the life of Jesus, most of which are found in all four Gospels, and examines the parallel versions. The book ends with reflections on the fourfold Gospel and the singular Jesus, including a discussion of key issues relating to the 'historical Jesus'. Edward Adams is Senior Lecturer in New Testament Studies at King's College London.

Edward Adams challenges a strong consensus in New Testament and Early Christian studies: that the early Christians met 'almost exclusively' in houses. This assumption has been foundational for research on the social formation of the early churches, the origins and early development of church architecture, and early Christian worship. Recent years have witnessed increased scholarly interest in the early 'house church'. Adams re-examines the New Testament and other literary data, as well as archaeological and comparative evidence, showing that explicit evidence for assembling in houses is not nearly as extensive as is usually thought. He also shows that there is literary and archaeological evidence for meeting in non-house settings. Adams makes the case that during the first two centuries, the alleged period of the 'house church', it is plausible to imagine the early Christians gathering in a range of venues rather than almost entirely in private houses. His thesis has wide-ranging implications.

In this groundbreaking study of Paul, Adams focuses on Paul's understanding and use of cosmological concepts, such as "world" and "creation".

Adams brings to bear the most recently developed disciplines, including "critical linguistics" to the interpretation of Pauline texts, showing, for example, the differing perspectives on the world of I Corinthians and Romans.

He examines Paul's historical and social context and illuminates the whole cosmological project of Pauline Christianity.

The aim of this book is to establish and explore New Testament belief in the end of the world through an investigation of texts which - on the face of it - contain 'end of the world' language. It engages with recent discussion on how Jewish and early Christian 'end of the world' was meant to be understood, and interacts especially with N.T. Wright's proposals. The first part of the book is given over to background and focuses on the Old Testament, Jewish apocalyptic and related literature and Graeco-Roman sources. The latter have seldom been brought into play in previous discussion. The author shows that the Stoic material is especially relevant. The second part of the book concentrates on the New Testament evidence and explores in detail all the key texts. The pertinent texts are analyzed in terms of the kind of the 'end of the world' language they use - language of cosmic cessation, of catastrophe and conflagration. The main aim of the exegesis is to establish the extent to which the language is meant objectively, but there is further exploration of issues arising from the notions of the end of the world where they are deemed to be present, including whether the idea of the world's dissolution implies a rejection of the created order. The conclusion explores the implications of the theme of the end of the world for Christian theology and ethics, and discusses especially, the ramifications for environmental ethics.

This volume examines and discusses selected Bible documentaries and academically informed dramatizations of the Bible. With a major focus on recent productions in UK mainline television within the past 15 years, the contributors also engage with productions from the USA. After a critical introduction by Helen K. Bond, charting and reflecting on the use of the Bible on television in recent years, the book falls into three sections. First, a number of influential filmmakers and producers, including Ray Bruce and Jean- Claude Bragard, discuss their work in relation to the context and constraints of television - especially religious television - programming. The volume then moves to reflections of various academics who have acted as 'talking heads', historical consultants and presenters, allowing discussion of different aspects of the process, including the extent to which they had influence and how their contributions were used. Finally, a number of scholars assess the finished products, discussing what they tell us about the modern reception of the Bible, with additional consideration of how these productions influence biblical scholars and contribute to the scholarly agenda.