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This volume traces how theologies and the arts of the Baroque period stressed the "pathos" of Christ's death on the cross as the means of salvation, and invited believers to an emotional response that binds them to Christ's saving act.
The Baroque period was in some senses the beginning of modern Western scientific and intellectual culture-the early budding of the Enlightenment. In the light of a new scientific and historical consciousness, it saw the rise of deism and the critique of traditional forms of Christianity. Secular values and institutions were openly or surreptitiously replacing the structures of traditional Christian society. At the same time, there was also a trend of religious renewal and the reaffirmation of tradition. In Roman Catholicism, the Patristic, medieval, and Tridentine paradigms were subsumed into a powerful Counter-Reformation spirituality, propagated not only in books, treatises, and sermons, but also in music and in the works of what was arguably the last period of great sacred art. It inspired masters like Bernini, Reni, Rubens, Velázquez, Zurbarán, and Van Dyck. In the Protestant traditions, the Reformation movement found affective expression in new forms of music produced by Monteverdi, Scarlatti, Handel, Telemann, and Bach. The title, The Pathos of the Cross, points to a major aspect of the spirituality of this period: a dramatic portrayal of the events of Christ's passion meant to provoke an emotional response from the viewer and listener. Many works of the period retain their emotional pull centuries later, even though the theology they represent has been challenged and frequently rejected. This volume traces the ways in which Roman Catholic and Protestant theologies of the period proclaimed the centrality of the cross of Christ to human salvation. In a parallel movement, it illustrates how musical and artistic works of the period were both inspired and informed by these theologies, and how they moved beyond them in an aesthetic mediation of faith.
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.
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.
Viladesau focuses on poetry and the visual arts as he seeks to understand 'The Beauty of the Cross' as it developed in theology and art from the early Christian era through the middle ages.
Written by one of the twentieth-century's foremost modern Trinitarian theologians The Christian Doctrine of God remains a classic ground work for scholars and students alike. In the book Thomas F. Torrance offers a detailed study of the most profound article of the Christian faith - the Holy Trinity. Torrance adopts a holistic approach when examining the inter-relatedness of the three persons - Father, son, and Holy Spirit - and their dynamic Communion with the Being and Nature of God. Combining immense academic range with his characteristically fresh theological perspectives, Torrance builds a significant theological bridge between ancient and modern, as well as between the Roman and Protestant theology; he engages deeply with the Church Fathers and discusses the ontological nature of God. Here Torrance conveys a simple message - the doctrine of the Trinity is the doctrine of God. This Cornerstones edition includes a new introduction written by Professor Paul D. Molnar, in which Molnar sets Torrance's classic work in its modern context and considers how it continues to influence the way we think about the Trinity today.
What does a Christian life lived "by the Spirit" look like? Bringing together Protestant scholars and practitioners of spiritual formation, this volume offers a distinctly evangelical consideration of the benefits of contemplation. Drawing on historical examples from the church—including John Calvin, Richard Baxter, Jonathan Edwards, and John Wesley—this book considers how contemplative prayer can shape Christian living today.
This textbook provides complete and comprehensive coverage of the theological tradition of Aquinas, Maximus, Luther, Irenaeus, Lonergan, von Balthasar, Schmemann, Meyendorf and Barth. Each section of this textbook explores a wide variety of questions – who are we? Is there a God, and if so, what is his nature? Who is Jesus? What does it mean that we live both in sin and righteousness? It consists of 15 modules that are comprised of 46 chapters. Each module has two parts: there are systematic chapters that discuss and explain each module's topic; and the final chapter of each module examines 4 to 6 primary sources that are important for each topic. This textbook includes an extensive range of pedagogical features: - Sample tests in which each objective question has been quality tested by classroom use (with a discrimination index) - A discussion guide for each chapter - Learning objectives linked to each chapter - The text includes bold-faced terms, boxed text sections that identify central figures and points of debate, study question, chapter summaries, glossary