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Vintage fashionista Marcy Alexander reluctantly agrees to costume a period-era play and ends up with more drama than one girl can handle. While revitalizing her squelched artistic desires, she must harness her aura-reading ability to untangle a ghostly mystery from 1966. Gorgeous-but-gruff director Mike Figueroa flares with irritated crimson whenever they interact. His goal is to produce the best show possible to thwart his betting / prank-driven buddies. The fill-in, kooky costumer provides more hindrance than help as they’re drawn to and annoyed by each other. Dogged by a persistent ghost and an ailing mom urging her to pursue her dream career, will Marcy solve the mystery from the past before she figures out the riddles of her own heart?
Key to a theology of scripture are the important issues of history, consciousness, rhetoric, and how theology functions in relation to interpretation of Christianity's religious texts. Seeking to address a critical problem in theology and the interpretation of scripture raised by modern historical consciousness, Ben Fulford argues for a densely historical and theological reading of scripture centered in a Christological rubric. The argument herein uncovers a figural pattern of divine action and presence in the sacred texts. Tracing the problem through the modern theological heritage, the author turns to a comparative account of theologically patterned reading represented by patristic theology in Gregory of Nazianzus and postliberal theology in its pivotal founder, Hans Frei. The book addresses the challenge of historicity and historical consciousness, argues for the relevance of pre-modern approaches to scripture, and offers a fresh and extensive account of two salient figures from the early and contemporary tradition, thus enacting a theology of retrieval as a resource on a present issue of vital importance.
Observing a strange disappearance of doctrine within the church, Kevin Vanhoozer argues that there is no more urgent task for Christians today than to engage in living truthfully with others before God. He details how doctrine serves the church--the theater of the gospel--by directing individuals and congregations to participate in the drama of what God is doing to renew all things in Jesus Christ. Taking his cue from George Lindbeck and others who locate the criteria of Christian identity in Spirit-led church practices, Vanhoozer relocates the norm for Christian doctrine in the canonical practices, which, he argues, both provoke and preserve the integrity of the church's witness as prophetic and apostolic.
The Bible, as is often said, is the world's least-read bestseller. That is particularly true of the Old Testament. People are often put off by the sheer bulk of the material and its frequently undistinguished quality. John Dancy has selected large samples from most of the canonical and apocryphal books, amounting to just under a third of the total, chosen for artistic merit and intrinsic interest rather than for representative status or theological value. Literature of this stature, he says, should not be restricted to academics and believers. To make it more approachable, the text is presented with commentary on the same page, in smaller type so that attention is never diverted from the original. The commentary mostly concentrates on literary matters but provides technical explanations where necessary. In addition a sensitive and sound introduction also puts the Hebrew writings in the historical context of the ancient Near East. Extracts are used from a variety of translations, preferring the most faithful in language, tone and style for each section. Accuracy is a prime concern, but so is poetry. Above all, the selections bring out the inherent dramatic qualities of the verse dialogues and narrative prose. Nothing quite like this has yet been made available. The Divine Drama will be a welcome addition to the library of any thoughtful reader who cares for good stories.
The response of Pentecostal and Charismatic churches to those suffering in their midst has generally been to seek the intervention of the Holy Spirit to bring about healing and transformation, or perhaps, education. But what happens when the suffering continues, it appears to be innocent and meaningless, and God seems to be absent? This study, drawing on Kevin Vanhoozer's "dramatic" approach to theology, argues that the way God calls us to "perform" as we seek to communicate with him amidst such situations is to lament, and to do so with the aid of the Holy Spirit. Rather than offering such an approach purely in opposition to the more "triumphalistic" responses common in Pentecostal/Charismatic theology and practice, this book seeks to show how a performance of lament is conducive to such theology and practice while acting as a much-needed corrective to certain aspects of it. What is provided here is therefore relevant reading for both scholars and pastors alike, particularly of Pentecostal/Charismatic church tradition, who grapple with the realities of suffering and the questions such realities produce.
The third volume of Theo-Drama is considered the most central book of Fr. von Balthasar's entire theological project. Structrually it is the middle volume of the middle part of his theological trilogy: Glory of the Lord, Theo-Drama, and Theo-Logic. More significantly, it contains von Balthasar's synthetic treatment of the central mysteries of the Catholic Faith: Christ, Mary, the Church, man and the Trinity. The various elements of von Balthasar's theological reflection converge here, and here as nowhere else one can find the systematic elaboration of his Christology, Mariology, ecclesiology, anthropology and trinitarian doctrine. It is both a one-volume compendium of this theology and a key to his trilogy and other writings.
Following his acclaimedThe Word Has Been Abroad: A Guide Through Balthasar's Aesthetics, No Bloodless Myth by Aidan Nichols summarizes and illuminates the five-volume series Theo-Drama, which develops the heart of Balthasar's theological theory-his exploration of the Good and of the dramatic interplay of finite and infinite freedom. Theo-Drama builds upon the earlier achievement of The Glory of the Lord and transcends it, opening up new horizons for theological and cultural reflection in the twenty-first century. Aidan Nichols's succinct commentary enables the reader to grasp the main themes of one of the most important theological works in several generations.
This is the final volume of this series on "theological dramatic theory" by the great 20th century theologian Balthasar. This series is the second part of Balthasar's trilogy on the good, the beautiful and the true which is his major work. The first series in the trilogy is The Glory of the Lord, and following this Theo-Drama series will be Theo-Logic. In this series "the good" has been the focus. Balthasar maintains that it is in the theater that man attempts a kind of transcendence to observe and to judge his own truth about himself. He sees the phenomenon of theater as a source of fruitfulness for theological reflection on the cosmic drama that involves earth and heaven. This fifth volume is trinitarian, focusing on the mystery of God. He draws heavily on Scripture and many passages from the works of the mystic Adrienne von Spyer. Some of the topics covered include "A Christian Eschotology", "The World is from the Trinity", "Earth moves Heavenward", "The Final Act: A Trinitarian Drama."