Download Free A Theology Of The Cross Book in PDF and EPUB Free Download. You can read online A Theology Of The Cross and write the review.

Gerhard Forde examines the nature of the "theology of the cross, noting what makes it different from other kinds of theology. His starting point is a thorough analysis of Luther's Heidelberg Disputation of 1518, the classic text of the theology of the cross.
For much of Christian history the church has given no place to Holy Saturday in its liturgy or worship. Yet the space dividing Calvary and the Garden may be the best place from which to reflect on the meaning of Christ's death and resurrection. This superb work by the late Alan Lewis develops on a grand scale and in great detail a theology of Holy Saturday.The first comprehensive theology of Holy Saturday ever written, Between Cross and Resurrectionshows that at the center of the biblical story and the church's creed lies a three-day narrative. Lewis explores the meaning of Holy Saturday -- the restless day of burial and waiting -- from the perspectives of narrative (hearing the story), doctrine (thinking the story), and ethics (living the story). Along the way he visits as many spiritual themes as possible in order to demonstrate the range of topics that take on fresh meaning when viewed from the vantage point of Holy Saturday.Between Cross and Resurrection is not only incisive and elegantly written, but it is also a uniquely moving work deeply rooted in Christian experience. While writing this book Lewis experienced his own Holy Saturday in suffering from and finally succumbing to cancer. He considered Between Cross and Resurrection to be the culmination of his life's work.
The Theology of the Cross is one of the core elements of Martin Luther's theology. The development of this doctrine through the Heidelberg Disputation has been considered an essential element of Luther's breakthrough on justification, and crucial to his theological reforms and future split with the Roman Catholic Church. These statements by Luther, originally penned to be defended in debate, are counter-intuitive, contrary, offensive, and thrilling paradoxes, starting with the first and most astounding of them all: "The Law of God, the most salutary doctrine of life cannot advance humans on their way to righteousness, but rather hinders them." We hope the collection of interpretations that follow the theses in this book will help you to understand their impact.
From the earliest period of its existence, Christianity has been recognized as the "religion of the cross." Some of the great monuments of Western art are representations of the brutal torture and execution of Christ. Despite the horror of crucifixion, we often find such images beautiful. The beauty of the cross expresses the central paradox of Christian faith: the cross of Christ's execution is the symbol of God's victory over death and sin. The cross as an aesthetic object and as a means of devotion corresponds to the mystery of God's wisdom and power manifest in suffering and apparent failure. In this volume, Richard Viladesau seeks to understand the beauty of the cross as it developed in both theology and art from their beginnings until the eve of the renaissance. He argues that art and symbolism functioned as an alternative strand of theological expression -- sometimes parallel to, sometimes interwoven with, and sometimes in tension with formal theological reflection on the meaning of the Crucifixion and its role insalvation history. Using specific works of art to epitomize particular artistic and theological paradigms, Viladesau then explores the contours of each paradigm through the works of representative theologians as well as liturgical, poetic, artistic, and musical sources. The beauty of the cross is examined from Patristic theology and the earliest representations of the Logos on the cross, to the monastic theology of victory and the Romanesque crucified "majesty," to the Anselmian "revolution" that centered theological and artistic attention on the suffering humanity of Jesus, and finally to the breakdown of the high scholastic theology of the redemption in empirically concentrated nominalism and the beginnings of naturalism in art. By examining the relationship between aesthetic and conceptual theology, Viladesau deepens our understanding of the foremost symbol of Christianity. This volume makes an important contribution to an emerging field, breaking new ground in theological aesthetics. The Beauty of the Cross is a valuable resource for scholars, students, and anyone interested in the passion of Christ and its representation.
John D. Caputo stretches his project as a radical theologian to new limits in this groundbreaking book. Mapping out his summative theological position, he identifies with Martin Luther to take on notions of the hidden god, the theology of the cross, confessional theology, and natural theology. Caputo also confronts the dark side of the cross with its correlation to lynching and racial and sexual discrimination. Caputo is clear that he is not writing as any kind of orthodox Lutheran but is instead engaging with a radical view of theology, cosmology, and poetics of the cross. Readers will recognize Caputo's signature themes—hermeneutics, deconstruction, weakness, and the call—as well as his unique voice as he writes about moral life and our strivings for joy against contemporary society and politics.
The pluralist society is wrong! Everyone's beliefs are not equally valid - truth is not down to who is the biggest bully! Creeds give direction, unity, and fellowship - and show the world what we believe.
Beneath the philosophical, social, political, ethical, national, and moral issues that Grant tackled throughout his career was a fundamental concern with theodicy - the problem of faith in God in a world of conflict, suffering, and tragedy.
This is a sequel to Richard Viladesau's well-received study, The Beauty of the Cross: The Passion of Christ in Theology and the Arts from the Catacombs to the Eve of the Renaissance. It continues his project of presenting theological history by using art as both an independent religious or theological "text" and as a means of understanding the cultural context for academic theology. Viladesau argues that art and symbolism function as alternative strands of theological expression sometimes parallel to, sometimes interwoven with, and sometimes in tension with formal theological reflection on the meaning of crucifixion and its role in salvation history. This book examines the two great revolutionary movements that gave birth to the modern West: the Renaissance and the Protestant Reformation. This period was eventful for both theology and art, and thus particularly fruitful for Viladesau's project. Using individual works of art, over sixty of which are reproduced in this book, to epitomize particular artistic and theological models, he explores the contours of each paradigm through the works of representative theologians as well as liturgical, poetic, artistic, and musical sources. To name a few examples, the theologies of Savonarola, Luther, Calvin, and the Council of Trent, are examined in correlation to the new situation of art in the era of Fra Angelico, Leonardo, Michelangelo, Dürer, Cranach, and the Mannerists. In this book, Viladesau continues to deepen our understanding of the foremost symbol of Christianity.
The Folly of the Cross is the fourth book in Richard Viladesau's series examining the aesthetics and theology of the cross through Christian history. Previous volumes have brought the story up through the Baroque era. This new book examines the reception of the message of the cross from the European Enlightenment to the turn of the twentieth century. The opening chapters set the stage in the transition from the Baroque to the Classical eras, describing the changing intellectual and cultural paradigms of the time. Viladesau examines the theology of the cross in the eighteenth and nineteenth centuries, and the aesthetic mediation of the cross in music and the visual arts. He shows how in the post-Enlightenment era the aesthetic treatment of the cross widely replaced the dogmatic treatment, and how this thought was translated into popular spirituality, piety, and devotion. The Folly of the Cross shows how classical theology responded to the critiques of modern science, history, Biblical scholarship, and philosophy, and how both classical and modern theology served as the occasions for new forms of representation of Christ's passion in the arts and music.