Ratmoko (English literature, U. of Zurich and comparative literature, Yale U.) traces the genealogy of ghosts through philosophical, literary, and religious texts of the Western canon. He discusses the spectral history of guilt in law, the historical truth of spectrality, spectrality in the era of Christianity and Greek tragedy, and phantom formations after the Renaissance. Annotation :2006 Book News, Inc., Portland, OR (booknews.com).
Christian universalism has been explored in its biblical, philosophical, and historical dimensions. For the first time, The God Who Saves explores it in systematic theological perspective. In doing so it also offers a fresh take on universal salvation, one that is postmetaphysical, existential, and hermeneutically critical. The result is a constructive account of soteriology that does justice to both the universal scope of divine grace and the historicity of human existence. In The God Who Saves David W. Congdon orients theology systematically around the New Testament witness to the apocalyptic inbreaking of God's reign. The result is a consistently soteriocentric theology. Building on the insights of Rudolf Bultmann, Ernst Kasemann, Eberhard Jungel, and J. Louis Martyn, he interprets the saving act of God as the eschatological event that crucifies the old cosmos in Christ. Human beings participate in salvation through their unconscious, existential cocrucifixion, in which each person is interrupted by God and placed outside of himself or herself. Both academically rigorous and pastorally sensitive, The God Who Saves opens up new possibilities for understanding not only what salvation is but also who the God who brings about our salvation is. Here is an interdisciplinary exercise in dogmatic theology for the twenty-first century.
Why was Jesus, who said "I judge no one," put to death for a political crime? Of course, this is a historical question--but it is not only historical. Jesus's life became a philosophical theme in the first centuries of our era, when "pagan" and Christian philosophers clashed over the meaning of his sayings and the significance of his death. Modern philosophers, too, such as Immanuel Kant and Friedrich Nietzsche, have tried to retrace the arc of Jesus's life and death. I Judge No One is a philosophical reading of the four memoirs, or "gospels," that were fashioned by early Christ-believers and collected in the New Testament. It offers original ways of seeing a deeply enigmatic figure who calls himself the Son of Man. David Lloyd Dusenbury suggests that Jesus offered his contemporaries a scandalous double claim. First, that human judgements are pervasive and deceptive; and second, that even divine laws can only be fulfilled in the human experience of love. Though his life led inexorably to a grim political death, what Jesus's sayings revealed--and still reveal--is that our highest desires lie beyond the political.
At stake in this book is a struggle with language in a time when our old faith in the redeeming of the word-and the word's power to redeem-has almost been destroyed. Drawing on Benjamin's political theology, his interpretation of the German Baroque mourning play, and Adorno's critical aesthetic theory, but also on the thought of poets and many other philosophers, especially Hegel's phenomenology of spirit, Nietzsche's analysis of nihilism, and Derrida's writings on language, Kleinberg-Levin shows how, because of its communicative and revelatory powers, language bears the utopian "promise of happiness," the idea of a secular redemption of humanity, at the very heart of which must be the achievement of universal justice. In an original reading of Beckett's plays, novels and short stories, Kleinberg-Levin shows how, despite inheriting a language damaged, corrupted and commodified, Beckett redeems dead or dying words and wrests from this language new possibilities for the expression of meaning. Without denying Beckett's nihilism, his picture of a radically disenchanted world, Kleinberg-Levin calls attention to moments when his words suddenly ignite and break free of their despair and pain, taking shape in the beauty of an austere yet joyous lyricism, suggesting that, after all, meaning is still possible.
With the recent publication of Pope Francis's encyclical Laudato Si', many people of faith have found themselves challenged to seek new ways of responding to serious ecological questions essential to the flourishing of all creatures. On Earth as It Is in Heaven brings together fifteen top scholars to consider pressing contemporary environmental concerns through the lens of Catholic theology.Drawing from ancient Christian sources, the contributors delve into such diverse topics as equitable food distribution, responsible procreation, land stewardship, evolutionary theodicy, and poverty and providence. A concluding essay addresses the liturgy as the space in which all creation is consecrated before the cross of Christ. Allowing the earliest Church Fathers and voices from the Christian tradition to speak to our unique circumstances today, this engaging volume shows that ancient, creedal Christianity contains important insights into caring for God's creation.
Ratmoko (English literature, U. of Zurich and comparative literature, Yale U.) traces the genealogy of ghosts through philosophical, literary, and religious texts of the Western canon. He discusses the spectral history of guilt in law, the historical truth of spectrality, spectrality in the era of Christianity and Greek tragedy, and phantom formations after the Renaissance. Annotation :2006 Book News, Inc., Portland, OR (booknews.com).
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