How will the western church negotiate the demise of Christendom? Can it rediscover its primary calling, recover its authentic ethos and regain its nerve? If churches are to thrive--or even survive--disturbing questions need to be confronted and answered. In conversation with Christians who have left the church and with those who are experimenting with fresh expressions of church, Stuart Murray explores both the emerging and inherited church scenes and makes proposals for the development of a way of being church suitable for a postdenominational, postcommitment and post-Christendom era. With chapters on mission, community and worship, Church After Christendom offers a vision of church life that is healthy, sustainable, liberating, peaceful and missional.
While the transition from modernity to postmodernity has received a huge amount of attention the shift from Christendom to post-Christendom has not yet been fully explored. This book is an introduction: a journey into the past, an interpretation of the present, and an invitation to ask what following Jesus might mean in the strange new world of post-Christendom. Drawing on insights from the early Christians, dissident movements and the world church, this book challenges conventional ways of thinking. For those who dare to imagine new ways of following Jesus on the margins it invites a realistic and hopeful response to challenges and opportunities awaiting us in the 21st century.
Since the beginnings of African cinema, the realm of beauty on screen has been treated with suspicion by directors and critics alike. James S. Williams explores an exciting new generation of African directors, including Abderrahmane Sissako, Mahamat-Saleh Haroun, Fanta Régina Nacro, Alain Gomis, Newton I. Aduaka, Jean-Pierre Bekolo and Mati Diop, who have begun to reassess and embrace the concept of cinematic beauty by not reducing it to ideological critique or the old ideals of pan-Africanism. Locating the aesthetic within a range of critical fields - the rupturing of narrative spectacle and violence by montage, the archives of the everyday in the 'afropolis', the plurivocal mysteries of sound and language, male intimacy and desire, the borderzones of migration and transcultural drift - this study reveals the possibility for new, non-conceptual kinds of beauty in African cinema: abstract, material, migrant, erotic, convulsive, queer. Through close readings of key works such as Life on Earth (1998), The Night of Truth (2004), Bamako (2006), Daratt (Dry Season) (2006), A Screaming Man (2010), Tey (Today) (2012), The Pirogue (2012), Mille soleils (2013) and Timbuktu (2014), Williams argues that contemporary African filmmakers are proposing propitious, ethical forms of relationality and intersubjectivity. These stimulate new modes of cultural resistance and transformation that serve to redefine the transnational and the cosmopolitan as well as the very notion of the political in postcolonial art cinema.
This critical examination of Maoriland literature argues against the former glib dismissals of the period and focuses instead on the era’s importance in the birth of a distinct New Zealand style of writing. By connecting the literature and other cultural forms of Maoriland to the larger realms of empire and contemporary criticism, this study explores the roots of the country’s modern feminism, progressive social legislation, and bicultural relations.
Strategic thinking about ministry and mission has tended to focus on the challenges of communication and presentation. Less attention has been paid to the effects that this thinking has on ministry. There is an unacknowledged dilemma for churches insofar as they are caught between the challenge to re-shape ministry in response to cultural change and the belief that there are certain God-given, immutable foundations for ministerial order that must be retained. Arguing that what is needed is a provisional approach to ministry which recognises that all forms of ministry are, and always have been a response to social and cultural context, this book brings theological and practical insight to bear on the question of ministry’s provisionality. In the end, it asks, is the only way through this dilemma a kind of Ecclesianarchy?
‘I wanted to change the world, but I couldn’t find a babysitter.’ School runs, packed lunches, play-dates, date night, nappy changes, homework, football, deadlines, bedtime stories, supermarket runs, peace-keeping, juice and biscuits, park trips, the runs, toddler groups, coffee drinking, mum’s taxi, potty training, kiss-it-better. These are our lives. Like you, we are busy mums who want to follow God. We want to be part of his mission to the world. Perhaps you had big dreams of how you’d make a difference to the world, how you’d change it for the better. But now all you can think about is the next feed. Or perhaps you think mission is only for ‘special Christians’ who are extra holy and know their Bible backwards - and you feel that just ticking off each day on the calendar is an achievement. Wherever you are, whatever you feel, we hope this book will renew your passion to serve God in your own situation. We’d like to share some stories from women who have begun to do just that. And we want to invite you to explore what mission looks like for a normal mum. Because however ordinary we are, we serve an extraordinary God, and he calls us all to be a part of his mission to transform the earth, bring his kingdom, redeem a new humanity and build his church.
Multi-voiced Church argues strongly and persuasively for churches in which everyone is important for the well-being and growth of the community. The New Testament indicates that the early churches were multi-voiced, participative and expectant that the Holy Spirit would speak through all members of the community. First-generation renewal movements have typically been multi-voiced, recovering this New Testament characteristic. But institutionalization (often accompanied by clericalization) has persistently reduced such diversity of participation and resulted in many aspects of church life becoming mono-voiced or restricted to only a few voices.
Unfixable Forms explores how theatrical form remakes—and is in turn remade by—early modern disability. Figures described as "deformed," "lame," "crippled," "ugly," "sick," and "monstrous" crowd the stage in English drama of the sixteenth and seventeenth centuries. In each case, such a description distills cultural expectations about how a body should look and what a body should do—yet, crucially, demands the actor's embodied performance. In the early modern theater, concepts of disability collide with the deforming, vulnerable body of the actor. Reading dramatic texts alongside a diverse array of sources, ranging from physic manuals to philosophical essays to monster pamphlets, Katherine Schaap Williams excavates an archive of formal innovation to argue that disability is at the heart of the early modern theater's exploration of what it means to put the body of an actor on the stage. Offering new interpretations of canonical works by William Shakespeare, Ben Jonson, Thomas Dekker, Thomas Middleton, and William Rowley, and close readings of little-known plays such as The Fair Maid of the Exchange and A Larum For London, Williams demonstrates how disability cuts across foundational distinctions between nature and art, form and matter, and being and seeming. Situated at the intersections of early modern drama, disability studies, and performance theory, Unfixable Forms locates disability on the early modern stage as both a product of cultural constraints and a spark for performance's unsettling demands and electrifying eventfulness.
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