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How and why did the images of the crucified Christ and his grieving mother achieve such prominence, inspiring unparalleled religious creativity as well such imitative extremes as celibacy and self-flagellation? To answer this question, Fulton ranges over developments in liturgical performance, private prayer, doctrine, and art.
Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.
The doctrine of the virgin birth is intricately woven within the texture of the liturgy, theology and piety of all branches of the Christian Church. In spite of its enduring influence, the doctrine has been dogged by criticism, particularly in the modern era. By the 20th century, the teaching of the virgin birth was rejected by the majority of Protestant theologians in Europe. Rejecting the conclusion of many of his contemporaries-including that of his own father-the Swiss theologian, Karl Barth (1886-1968), argued vehemently that, understood aright, the doctrine of the virgin birth plays a crucial role in Christian thought. Barth's legacy in this regard is widely regarded as providing the most influential rehabilitation of the doctrine among Protestants. This book offers a comprehensive account and analysis of Barth's interpretation of the doctrine of the virgin birth. Setting the doctrine in the context of the western Christian tradition, Resch examines it in relation to Barth's discussions in the Church Dogmatics of Christology, pneumatology and the interpretation of Scripture. The importance of this study lies in the way that it reveals Barth's continuity and discontinuity with both the classical Augustinian tradition of interpreting the virgin birth and the criticisms of the modern era, but especially in the way in which attention to Barth's doctrine of the virgin birth reveals his assumptions about the nature of history, humanity and the identity of Jesus Christ. As a 'fitting' sign of the mystery of the incarnation, Barth argued that the virgin birth expressed the dialectic of God's 'No' to sin and 'Yes' to humanity in his free act of revelation and reconciliation. As such, the doctrine of the virgin birth functioned for Barth as a paradigm through which to understand the fashion of God's work upon human beings and the suitable posture of the human being before God.
In this lively, original book, illustrated with photographs of the recently restored work, Barnes analyzes the Last Judgment and the historical context in which it was created and received. She broadens our view of Michelangelo and his creative process and offers new insight into one of his greatest works.
The final book of the New Testament, the Apocalypse, has been controversial since its initial appearance during the first century A.D. For centuries after, theologians, exegetes, scholars, and preachers have grappled with the imagery and symbolism behind this fascinating and terrifying book. Their thoughts and ideas regarding the apocalypse—and its trials and tribulations—were received within both elite and popular culture in the medieval and early modern eras. Therefore, one may rightly call the Apocalypse, and its accompanying hopes and fears, a foundational pillar of Western Civilization. The interest in the Apocalypse, and apocalyptic movements, continues apace in modern scholarship and society alike. This present volume, A Companion to the Premodern Apocalypse, collates essays from specialists in the study of premodern apocalyptic subjects. It is designed to orient undergraduate and graduate students, as well as more established scholars, to the state of the field of premodern apocalyptic studies as well as to point them in future directions for their scholarship and/or pedagogy. Contributors are: Roland Betancourt, Robert Boenig, Richard K. Emmerson, Ernst Hintz, László Hubbes, Hiram Kümper, Natalie Latteri, Thomas Long, Katherine Olson, Kevin Poole, Matthias Riedl, Michael A. Ryan
Through a detailed analysis of ghost tales in the Ashkenazi pietistic work Sefer ḥasidim, Susan Weissman documents a major transformation in Jewish attitudes and practices regarding the dead and the afterlife that took place between the rabbinic period and medieval times. She reveals that a huge influx of Germano-Christian beliefs, customs, and fears relating to the dead and the afterlife seeped into medieval Ashkenazi society among both elite and popular groups. In matters of sin, penance, and posthumous punishment, the infiltration of Christian notions was so strong as to effect a radical departure in Pietist thinking from rabbinic thought and to spur outright contradiction of talmudic principles regarding the realm of the hereafter. Although it is primarily a study of the culture of a medieval Jewish enclave, this book demonstrates how seminal beliefs of medieval Christendom and monastic ideals could take root in a society with contrary religious values—even in the realm of doctrinal belief.
The subject of this book arises from recent developments in the inventory, preservation and study of mural paintings from the Middle Ages and the Renaissance, particularly those from what can be considered the periphery of Europe. The aim of this book is to demonstrate the vitality that the study of wall painting in peripheral regions can bring to the discipline of Art History. The articles collected in this book are overwhelmingly about wall paintings that would be hard pressed to be considered part of the master narrative of Art History. They are studies regarding regions and themes that are rarely present in the mainstream of the discipline, but their common thread is their focus on the functional dimension of mural paintings and on the complex interrelation between image, audience, social context and everyday life. From Denmark to Portugal, from graffiti to secular painting, from the orthodox monasteries of Moldavia to the noble residences of Tirol, from Giotto to anonymous and sometimes almost amateur painters, the studies gathered in this book place very distinct artistic realities side by side offering complementary perspectives and insights. The book will make a valuable contribution to the literature on Medieval and Renaissance mural painting, combining theoretical essays with others more descriptive. As the eighteen studies collected in this book deal with paintings from a range of European regions, from Denmark to Portugal and Romania, the book will find its way in Europe and abroad, both in the field of art history and that of Medieval and Early Modern history. The wealth of plates and figures will make the book also accessible to a broad audience interested in the history of painting, architecture and cultural heritage.