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For the past four hundred years, theological debate has been dominated by a fundamental divide: between the liberals, with strong loyalties to the secularity of the secular state and university on the one hand, and the neo-orthodox, insisting on the absolute priority of a proper loyalty to the church community itself, on the other. God and Modernity strikes off in a fundamentally new directionAndrew Shanks boldly calls for a new and better way to do theology. Shanks argues that God is most present in a culture where public debate over ethical issues flourishes best. Social movements such as feminist movements, peace movements, and green movements have emerged to challenge both Church and State. These new movements are no longer confined to a particular confessional religious identity and are independent of state sponsorship. These social movements already made an individual impact on theology. What would a theology look like, systematically trying to reconcile older divisions in the theological debate with a new loyalty to such movements common ethos? Anyone wishing to gain a refreshing insight into a new way of understanding theology and politics will welcome this ground-breaking book.
Is contemporary art a friend or foe of Christianity? Art historian, critic, and curator Daniel Siedell, addresses this question and presents a framework for interpreting art from a Christian worldview in God in the Gallery: A Christian Embrace of Modern Art. As such, it is an excellent companion to Francis Schaeffer's classic Art and the Bible. Divided into three parts--"Theology," "History," and "Practice"--God in the Gallery demonstrates that art is in conversation with and not opposed to the Christian faith. In addition, this book is beautifully enhanced with images from such artists as Andy Warhol, Jackson Pollock, Enrique Martínez Celaya, and others. Readers of this book will include professors, students, artists, and anyone interested in Christianity and culture.
Jeremy Begbie explores how the practices of music and the discourses it has generated bear witness to some of the pivotal theological currents and counter-currents shaping modernity. Begbie argues that music is capable of yielding highly effective ways of addressing some of the more intractable theological problems and dilemmas of modernity.
Focusing on cemetery burials in late-eighteenth-century Mexico, Alone Before God provides a window onto the contested origins of modernity in Mexico. By investigating the religious and political debates surrounding the initiative to transfer the burials of prominent citizens from urban to suburban cemeteries, Pamela Voekel challenges the characterization of Catholicism in Mexico as an intractable and monolithic institution that had to be forcibly dragged into the modern world. Drawing on the archival research of wills, public documents, and other texts from late-colonial and early-republican Mexico, Voekel describes the marked scaling-down of the pomp and display that had characterized baroque Catholic burials and the various devices through which citizens sought to safeguard their souls in the afterlife. In lieu of these baroque practices, the new enlightened Catholics, claims Voekel, expressed a spiritually and hygienically motivated preference for extremely simple burial ceremonies, for burial outside the confines of the church building, and for leaving their earthly goods to charity. Claiming that these changes mirrored a larger shift from an external, corporate Catholicism to a more interior piety, she demonstrates how this new form of Catholicism helped to initiate a cultural and epistemic shift that placed the individual at the center of knowledge. Breaking with the traditional historiography to argue that Mexican liberalism had deeply religious roots, Alone Before God will be of interest to specialists in Latin American history, modernity, and religion.
Should Christians even bother with modern art? This STA volume gathers the reflections of artists, art historians, and theologians who collectively offer a more complicated narrative of the history of modern art and its place in the Christian life. Readers will find insights on the work and faith of artists like Marc Chagall, Jackson Pollock, Mark Rothko, Andy Warhol, and more.
A master historian traces the flourishing of organized religion in Manhattan between the 1880s and the 1960s, revealing how faith adapted and thrived in the supposed capital of American secularism. In Gilded Age Manhattan, Catholic, Jewish, and Protestant leaders agonized over the fate of traditional religious practice amid chaotic and multiplying pluralism. Massive immigration, the anonymity of urban life, and modernity’s rationalism, bureaucratization, and professionalization seemingly eviscerated the sense of religious community. Yet fears of religion’s demise were dramatically overblown. Jon Butler finds a spiritual hothouse in the supposed capital of American secularism. By the 1950s Manhattan was full of the sacred. Catholics, Jews, and Protestants peppered the borough with sanctuaries great and small. Manhattan became a center of religious publishing and broadcasting and was home to august spiritual reformers from Reinhold Niebuhr to Abraham Heschel, Dorothy Day, and Norman Vincent Peale. A host of white nontraditional groups met in midtown hotels, while black worshippers gathered in Harlem’s storefront churches. Though denied the ministry almost everywhere, women shaped the lived religion of congregations, founded missionary societies, and, in organizations such as the Zionist Hadassah, fused spirituality and political activism. And after 1945, when Manhattan’s young families rushed to New Jersey and Long Island’s booming suburbs, they recreated the religious institutions that had shaped their youth. God in Gotham portrays a city where people of faith engaged modernity rather than foundered in it. Far from the world of “disenchantment” that sociologist Max Weber bemoaned, modern Manhattan actually birthed an urban spiritual landscape of unparalleled breadth, suggesting that modernity enabled rather than crippled religion in America well into the 1960s.
Ph.D. expert in astronautical and aeronautical engineering provides good news for believers -- new scientific research supports the idea that the universe was created by God.
This is an analysis of how 16th- and 17th-century astronomers and theologians in Northern Protestant Europe used science and religion to challenge and support one another. It argues that these schemes can solve the enduring problem of how theological interpretation and investigation interact.
The human population's annual total consumption is not sustainable by one planet. This unprecedented situation calls for a reform of religious cultures that promote a large ideal family size. Many observers assume that Christianity is inevitably part of this problem because it promotes "family values" and statistically, in America and elsewhere, has a higher birthrate than nonreligious people. This book explores diverse ideas about human reproduction in the church past and present. It investigates an extreme fringe of U.S. Protestantism, including the Quiverfull movement, that use Old Testament "fruitful" verses to support natalist ideas explicitly promoting higher fecundity. It also challenges the claim by some natalists that Martin Luther in the 16th century advocated similar ideas. This book argues that natalism is inappropriate as a Christian application of Scripture, especially since rich populations’ total footprints are detrimental to biodiversity and to human welfare. It explores the ancient cultural context of the Bible verses quoted by natalists. Challenging the assumption that religion normally promotes fecundity, the book finds surprising exceptions among early Christians (with a special focus on Saint Augustine) since they advocated spiritual fecundity in preference to biological fecundity. Finally the book uses a hermeneutic lens derived from Genesis 1, and prioritising the modern problem of biodiversity, to provide ecological interpretations of the Bible's "fruitful" verses.
Reflecting on the development of atheism from the beginnings of modernity to the present day, the author suggests that atheism originated in the denial that the various forms of interpersonal religious experience possess any cognitive cogency.