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In the surreal and paranoid underworld of wartime Prague, fugitive lovers Felix Andel and Magdalena Ruza make some dubious alliances - with a mysterious Roman Catholic cardinal, a reckless sculptor intent on making a big political statement, and a gypsy with a risky sex life. As one by one their chances for fleeing the country collapse, the two join a plot to assassinate Hitler's nefarious Minister of Public Enlightenment and Propaganda, Josef Goebbels. But the assassination attempt goes wildly wrong, propelling the lovers in separate directions. Felix's destiny is sealed at the Bone Church, a mystical pilgrimage site on the outskirts of Prague, while Magdalena is thrust even deeper into the bowels of a city that betrayed her and a homeland soon to be swallowed by the Soviets. As they emerge from the shadowy fog of World War II, and stagger into the foul haze of the Cold War, Felix and Magdalena must confront the past, and a dangerous, uncertain future.
The bone gatherers found in the annals and legends of the early Roman Catholic Church were women who collected the bodies of martyred saints to give them a proper burial. They have come down to us as deeply resonant symbols of grief: from the women who anointed Jesus's crucified body in the gospels to the Pietà, we are accustomed to thinking of women as natural mourners, caring for the body in all its fragility and expressing our deepest sorrow. But to think of women bone gatherers merely as mourners of the dead is to limit their capacity to stand for something more significant. In fact, Denzey argues that the bone gatherers are the mythic counterparts of historical women of substance and means-women who, like their pagan sisters, devoted their lives and financial resources to the things that mattered most to them: their families, their marriages, and their religion. We find their sometimes splendid burial chambers in the catacombs of Rome, but until Denzey began her research for The Bone Gatherers, the monuments left to memorialize these women and their contributions to the Church went largely unexamined. The Bone Gatherers introduces us to once-powerful women who had, until recently, been lost to history—from the sorrowing mothers and ghastly brides of pagan Rome to the child martyrs and women sponsors who shaped early Christianity. It was often only in death that ancient women became visible—through the buildings, burial sites, and art constructed in their memory—and Denzey uses this archaeological evidence, along with ancient texts, to resurrect the lives of several fourth-century women. Surprisingly, she finds that representations of aristocratic Roman Christian women show a shift in the value and significance of womanhood over the fourth century: once esteemed as powerful leaders or patrons, women came to be revered (in an increasingly male-dominated church) only as virgins or martyrs—figureheads for sexual purity. These depictions belie a power struggle between the sexes within early Christianity, waged via the Church's creation and manipulation of collective memory and subtly shifting perceptions of women and femaleness in the process of Christianization. The Bone Gatherers is at once a primer on how to "read" ancient art and the story of a struggle that has had long-lasting implications for the role of women in the Church.
This book is a conversation starter. The author is re-imagining the theological landscape of historical practices of dance in order to open up a space where further explorations can be made. This is done in a two step manner. First, the book uncovers the restrictions of earlier research on the topic of dance in and around churches. In the second step, Hellsten suggests a practice for how historical sources can be imagined in a new frame. Opening up a new field of previously neglected and much needed historical studies on Dance in the Christian churches of the Latin West this study aims at questioning old paradigms and opening new vistas rather than reinterpreting concrete liturgical manuscripts or scrutinizing all the details of the historical sources presented.
When Clifford Stilton dies, his son Gene crams his carefully kept diaries into a hall cupboard - but Clifford's words have too much life in them to be ignored, and start to permeate his family's world. Clifford taught Gene about how to find rocks and fossils, and about how to kill birds and fish. Gene passes on a similar inheritance to his daughters, Bridget and Christina - they have their own ways of digging and discovering the past, keeping an account of life, watching out for the varieties of death that lie hidden. Etta their mother tells a very different story of her 1940s childhood. In a fishbone church spans continents and decades. From the Berlin rave scene to the Canterbury duck season, from the rural 1950s to the cosmopolitan present, these five vivid lives cohere in a deeply affecting and exhilarating novel. In a fishbone church, Catherine Chidgey's acclaimed debut, won the Hubert Church Award for Best First Book in the Montana New Zealand Book Awards, the Adam Award, the regional Commonwealth Prize for Best First Novel, and a Betty Trask Award in the UK, where it was also longlisted for the Orange Prize. First published in 1998, it has been a bestseller in New Zealand and has been published around the world.
It was Blessed John Paul II’s greatest gift to the Church: The theology of the body. A window into who we are, the theology of the body is a theology for the rooms where we make love. But it’s also a theology for the rooms where we work, where we eat, where we laugh, and where we pray. These Beautiful Bones takes you on a walk through those rooms. With both humor and practical wisdom, it sheds light on what the theology of the body has to say about life beyond the bedroom, about the everyday moments of life, helping you discover how to let grace enter into those moments and make of them something extraordinary.
Minister and theologian Marcia Mount Shoop Offers an analysis of Reformed heritage---and an impassioned provocation that we live more adventurously. "Beautifully written and deeply felt. This work offers a vivid theology relocated in the flesh and blood of life's utter physicality. Finally a book to recommend when people ask about resources on bodies and theology!"---Bonnie J. Miller-McLemore, E. Rhodes and Leona B. Carpenter Professor of Pastoral Theology, The Divinity School and Graduate Department of Religion, Vanderbilt University "An incredibly compelling theological work. Bringing together a host of cutting-edge concerns that matter not simply to academic theologians, but to the lived life of faith, this project invokes the importance of bodies and their marking by gender, race, ethnicity, etc. Mount Shoop uses these now-familiar themes to break new ground by revealing the inadequacy of the overly verbal and cognitive character of Protestant worship and practice. It is groundbreaking."---Mary McClintock Fulkerson, Professor of Theology, Duke Divinity School, and author of Places of Redemption: Theology for a Worldly Church "Mount Shoop thiks in new ways about central theological concepts and dares to imagine a new church emerging out of them. She combines the intellectual vigor of an academic with the heart and soul of a pastor who understands what it means to lead a congregation. Happily, she writes like a poet. Let the Bones Dance is provocative, stimulating, and readable."---John M. Buchanan, pastor, Fourth Presbyterian Church, Chicago, Illinois, and author of A New Church for a New World Contemporary Christian faith and practice tend to address spiritual, mental, and emotional issues but ignore the body. As a result, many believers are uncomfortable in their own skins. Mount Shoop addresses this "dis-ease" with a theology that is attentive to physical experience. She also suggests how worship services can more fully invite God to inhabit every part of a congregation---including their flesh-and-blood bodies.
ccording to George Barna there are 53,000 people a month leaving Evangelical churches. God is realigning the church, and Floyd believes he wants to use the frustration that people feel toward the church to motivate them to believe for change. There is a valley of dry bones God wants to use, but those bones won't become an army until they are prophesied over. The dry bones are made up of the poor, the rebellious, the marginalized of society, the young, and the uneducated. They carry wounds, have been abused, suffer from AIDS, are widows and single parents. They are often so poor they have lost hope of finding a purpose in life. They are waiting for someone to believe in them. By choosing to follow Jesus, believers have joined a great procession of men and women who are living for something far greater than themselves. The challenge is to act like we really believe what we are called to be and to do: to become a radical community of Jesus followers who seek to alleviate injustice and share the Father's love with those who have never heard that he cares for them; to show that the church of Jesus Christ is the hope of the world. In this book Floyd shares five core beliefs about leadership, church, and mission: Simple church, Courageous leadership, Focused obedience, Apostolic passion, and Making disciples.
Sixteen years after René Descartes' death in Stockholm in 1650, a pious French ambassador exhumed the remains of the controversial philosopher to transport them back to Paris. Thus began a 350-year saga that saw Descartes' bones traverse a continent, passing between kings, philosophers, poets, and painters. But as Russell Shorto shows in this deeply engaging book, Descartes' bones also played a role in some of the most momentous episodes in history, which are also part of the philosopher's metaphorical remains: the birth of science, the rise of democracy, and the earliest debates between reason and faith. Descartes' Bones is a flesh-and-blood story about the battle between religion and rationalism that rages to this day. A New York Times Notable Book
From bone fetishism in the ancient world to painted skulls in Austria and Bavaria: an unusual and compelling work of cultural history. It is sometimes said that death is the last taboo, but it was not always so. For centuries, religious establishments constructed decorated ossuaries and charnel houses that stand as masterpieces of art created from human bone. These unique structures have been pushed into the footnotes of history; they were part of a dialogue with death that is now silent. The sites in this specially photographed and brilliantly original study range from the Monastery of Santa Maria delle Grazie in Palermo, where the living would visit mummified or skeletal remains and lovingly dress them; to the Paris catacombs; to fantastic bone-encrusted creations in Austria, Cambodia, the Czech Republic, Ecuador, Egypt, Germany, Greece, Italy, Peru, Portugal, Serbia, Slovakia, Slovenia, Spain, Switzerland, and elsewhere. Paul Koudounaris photographed more than seventy sites for this book. He analyzes the role of these remarkable memorials within the cultures that created them, as well as the mythology and folklore that developed around them, and skillfully traces a remarkable human endeavor.
In an age when the so-called prosperity gospel holds sway in many Christian communities or the good news of Christ is reduced to feel-good bromides, it would seem that death has little place in contemporary preaching. Embracing the vision of the valley of dry bones in Ezekiel 37 as a metaphor for preaching in the Spirit, acclaimed homiletician Luke Powery asserts that death is the context for all preaching. In fact, the Spirit leads preachers to the context of death each Sunday in order to proclaim a word of life that ultimately breathes hope into people's lives. Yet many preachers avoid death because they are at a loss of what to say about it and do not realize its vital connection to the substance of Christian hope. As a result the church is too often left with sermons that are fundamentally devoid of hope. Dem Dry Bones aims to remedy some of the theological and homiletical shortcomings in contemporary preaching by looking closely at the African American spirituals tradition. Through this study, Powery demonstrates how to preach in the Spirit so that proclaiming death becomes an avenue toward hope. In short: no death, no hope.