Originally published in 2000, In Search of First Century Christianity contends that Christianity in the first century had no founder but rather evolved as a convergence of many forces: political disillusionment, cultural mutations, religious and theological motifs, psychosocial losses and new expectations. Moving on from an examination of the foundations of historical and literary criticism in the Renaissance, and a detailed study of two writers in antiquity,Thucydides and Chariton, to examine writings in the period between Plato and the Gospel of Mark, the authors then explore the writing of Paul and the stories told in the Gospels. With the early Christians drawing from both Greek and Hebrew sources, Barnhart and Kraeger propose that, like Plato, Paul and other Christians generated an "anti-tragic theatre" gospel with the Jesus figure being the creation of a culture steeped in an anthropomorphic, metaphysical view of the world. Focusing on Paul's letters and other Christian writings, and the political, intellectual, moral and emotional conflicts they addressed and their formulation of early views of Christ, this book explores the difficult question of whether Jesus was an historical figure or an image who first emerged within developing communities of visionaries. Through an exploration into how Christology developed in the early first century, the authors seek to show that Christianity's emerging theology was a venture in human problem solving and both Paul and the Gospels sought to relate a story in which goodness would ultimately triumph, in the person of Christ. Joe.E.Barnhart is Professor of Philosophy and Religious Studies at the University of North Texas, USA; Linda T. Kraeger is Lecturer in the Department of Literature and Language at Grayson County College, USA.

Originally pulished in 2000, In Search of First Century Christianity contends that Christianity in the first century had no founder but rather evolved as a convergence of many forces: political disillusionment, cultural mutations, religious and theological motifs, psychosocial losses and new expectations. Moving on from an examination of the foundations of historical and literary criticism in the Renaissance, and a detailed study of two writers in antiquity,Thucydides and Chariton, to examine writings in the period between Plato and the Gospel of Mark, the authors then explore the writing of Paul and the stories told in the Gospels. With the early Christians drawing from both Greek and Hebrew sources, Barnhart and Kraeger propose that, like Plato, Paul and other Christians generated an "anti-tragic theatre" gospel with the Jesus figure being the creation of a culture steeped in an anthropomorphic, metaphysical view of the world.

This book illuminates the connectedness of Dostoevsky's literary art with his philosophical and psychological brilliance. Two Fyodor Dostoevsky conferences originating at the University of North Texas set the stage for this volume. Scholars contributed original papers focusing on how Dostoevsky's literary art and philosophical insights enrich one another. Fyodor Dostoevsky wrote and thought polyphonically. His polyphonic method is both his special literary technique and his distinctive way of probing theological, social, and philosophical depths. As Bakhtin and Terras suggest, all Dostoevsky's major literary inventions from the underground man to the vitriolic Grushenka are products of his ability to listen profoundly to his own characters. Like the genius author-redactor of 1 and 2 Samuel, he reports the heights and depths of human emotion and behavior, whether exploring the anatomy of dysfunctional families, making the heart soar with Zosima's vision of forgiveness, or giving Ivan Karamazov full rein to challenge theism. Dostoevsky's characters transform themselves into irregular verbs whose fierce independence emerges only because of their desperate and inescapable interdependence. His major characters are text, subtext, and context for each other. They play inside each other's head and answer in one way or another."