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To dismiss the work of philosophers and theologians of the past because of their limited perceptions of the whole of humankind is tantamount to tossing the tot out with the tub water. Such is the case when feminist scholars of religion and ethics confront
A Religious-Ethical Inquiry
All of us want to be happy and live well. Sometimes intense emotions affect our happinessùand, in turn, our moral lives. Our emotions can have a significant impact on our perceptions of reality, the choices we make, and the ways in which we interact with
Archaeology is a science in which progress can be measured by the advances made backward into the past. The last one hundred years of archaeology have added a score of centuries to the story of the growth of our cultural and religious heritage, as the ancient world has been recovered from the sands and caves of the modern Near East-Egypt, Jordan, Israel, Syria, Lebanon, Turkey, and Iraq. Measured by the number of centuries which have been annexed to man's history in a relatively few years, progress has been truly phenomenal. This book deals with the recent advance and with those pioneers to the past who made it possible. Interest in biblical history has played an important part in this recovery. Names such as Babylon, Nineveh, Jericho, Jerusalem, and others prominent on the pages of the Bible, have gripped the popular imagination and worked like magic to gain support for excavations.
This book is written from the widely shared conviction that the discovery of the ancient Near East has shed significant light on the Bible. Indeed, the newly-discovered ancient world has effected a revolution in the understanding of the Bible, its people, and their history. My purpose is to assess, in non-technical language which the layman can understand, the kind of change in viewing the biblical past which archaeology has brought about in the last century. Since the text of the Bible has remained constant over this period, it is obvious that any new light on its meaning must provide a better perspective for seeing the events which it describes. In short, I am concerned with the question, How has history as written in the Bible been changed, enlarged, or substantiated by the past century of the archaeological work?--from the Preface
An Annotated Translation with Introduction and Theological Commentary
With this first direct translation of Arminius' Declaration of Sentiments into English from the original Dutch, Stephen Gunter weaves expert translation with valuable notes and theological commentary. Gunter's introduction situates this overlooked but critically important work within its rich historical context and includes a clear, illuminating discussion of the debate over predestination. What emerges is an enlightening portrait of Arminius that challenges modern misconceptions about one of the most significant sixteenth-century theologians.
Art and the Religious Image in El Greco’s Italy is the first book-length examination of the early career of one of the early modern period’s most notoriously misunderstood figures. Born around 1541, Domenikos Theotokopoulos began his career as an icon painter on the island of Crete. He is best known, under the name “El Greco,” for the works he created while in Spain, paintings that have provoked both rapt admiration and scornful disapproval since his death in 1614. But the nearly ten years he spent in Venice and Rome, from 1567 to 1576, have remained underexplored until now. Andrew Casper’s examination of this period allows us to gain a proper understanding of El Greco’s entire career and reveals much about the tumultuous environment for religious painting after the Council of Trent. Casper’s analysis portrays El Greco as an active participant in some of the most formative artistic discussions of his time. It shows how the paintings of his early career explore the form, function, and conception of the religious image in the second half of the sixteenth century, and how he cultivated artistic fame by incorporating aspects of the styles of Michelangelo, Titian, and other contemporary masters. Beyond this, El Greco’s paintings bear the marks of an artist attentive to theoretical speculation on the artistic process, the current understandings of the science of optics and perspective, and the role of Roman antiquity for Christian ideology. All of these characteristics demonstrate El Greco’s unique understanding of the merger of artistic craft with devotional intent through what Casper terms the “artful icon.”
Christian Visual Culture in the Kingdom of Kongo
Between the sixteenth and the nineteenth centuries, the west central African kingdom of Kongo practiced Christianity and actively participated in the Atlantic world as an independent, cosmopolitan realm. Drawing on an expansive and largely unpublished set of objects, images, and documents, Fromont examines the advent of Kongo Christian visual culture and traces its development across four centuries marked by war, the Atlantic slave trade, and, finally, the rise of nineteenth-century European colonialism. By offering an extensive analysis of the religious, political, and artistic innovations through which the Kongo embraced Christianity, Fromont approaches the country's conversion as a dynamic process that unfolded across centuries.
Christian Art in Its Imperial Context
In recent years, art historians such as Johannes Deckers (Picturing the Bible, 2009) have argued for a significant transition in fourth- and fifth-century images of Jesus following the conversion of Constantine. Broadly speaking, they perceive the image of a peaceful, benevolent shepherd transformed into a powerful, enthroned Jesus, mimicking and mirroring the dominance and authority of the emperor. The powers of church and state are thus conveniently synthesized in such a potent image. This deeply rooted position assumes that ante-pacem images of Jesus were uniformly humble while post-Constantinian images exuded the grandeur of power and glory.
The Art of Empire contends that the art and imagery of Late Antiquity merits a more nuanced understanding of the context of the imperial period before and after Constantine. The chapters in this collection each treat an aspect of the relationship between early Christian art and the rituals, practices, or imagery of the Empire, and offer a new and fresh perspective on the development of Christian art in its imperial background.