In this richly designed book, Michael Card reflects on what it means for Christians that we meet our savior at a cross. Card combs the Old Testament prophecies and Gospel accounts of Jesus? self-sacrifice, seeking a renewed vision of the cross—the inconceivable meeting place of violence and grace.
This substantive collection of essays by Serene Jones explores recent works in the field of trauma studies. Central to its overall theme is an investigation of the myriad ways both individual and collective violence affect one's capacity to remember, to act, and to love; how violence can challenge theological understandings of grace; and even how the traumatic experience of Jesus' death is remembered. Of particular interest is Jones's focus on the long-term effects of collective violence on abuse survivors, war veterans, and marginalized populations, and the discrete ways in which grace and redemption might be exhibited in each context. At the heart of each essay are two deeply interrelated faith-claims that are central to Jones's understanding of Christian theology: first, we live in a world profoundly broken by violence; second, God loves this world and desires that suffering be met by words of hope, of love, and of grace. This truly cutting-edge book is the first trauma study to directly take into account theological issues.
Much like theology itself, the experience of trauma has the potential to reach into almost any aspect of life, refusing to fit within the tramlines. A follow up to the 2020 volume "Feminist Trauma Theologies", "Bearing Witness" explores further into global, intersectional, and as yet relatively unexplored perspectives. With a particular focus on poverty, gender and sexualities, race and ethnicity, and health in dialogue with trauma theology the book seeks to demonstrate both the far reaching and intersectional nature of trauma, encouraging creative and ground-breaking theological reflections on trauma and constructions of theology in the light of the trauma experience. A unique set of insights into the real-life experience of trauma, the book includes chapters authored by a diverse group of academic theologians, practitioners and activists. The result is a theology which extend far into the public square
Sites Unseen challenges conventions for viewing and interpreting the landscape, using visual theory to move beyond traditional practices of describing and classifying objects to explore notions of audience and context. While other fields, such as art history and geography, have engaged poststructuralist theory to consider vision and representation, the application of such inquiry to the natural or built environment has lagged behind. This book, by treating landscape as a spatial, psychological, and sensory encounter, aims to bridge this gap, opening a new dialogue for discussing the landscape outside the boundaries of current art criticism and theory. As the contributors reveal, the landscape is a widely adaptable medium that can be employed literally or metaphorically to convey personal or institutional ideologies. Walls, gates, churchyards, and arches become framing devices for a staged aesthetic experience or to suit a sociopolitical agenda. The optic stimulation of signs, symbols, bodies, and objects combines with physical acts of climbing and walking and sensory acts of touching, smelling, and hearing to evoke an overall "vision" of landscape.Sites Unseen considers a variety of different perspectives, including ancient Roman visions of landscape, the framing techniques of a Moghul palace, and a contemporary case study of Christo's The Gates, as examples of human attempts to shape our sensory, cognitive, and emotional experiences in the landscape.
Unspeakable probes the relationship between trauma theory and Christian theology in order to support preachers in the task of crafting sermons that adequately respond to trauma in the pews and the world at large. How might sermons contribute to resiliency and the repairing of wounds caused by traumatic experiences? This book seeks to provide a theological lens for preachers who wonder how their ‘beautiful words’ can address suffering amid traumatic wounding. Preaching is a healing discourse that proclaims gospel, or good news. Gospel is a complicated reality, especially in the face of trauma. Drawing on various theologies and insights from trauma theory, Unspeakable challenges the notion of a triumphant gospel, seeking an in-between perspective that honors both resurrection and the trauma that remains despite our desire to get to the good news. It builds on images of the preacher as witness and midwife in order to develop homiletical practices that acknowledge the limitations of language and imagination experienced by traumatized individuals.
The Body of Christ is a traumatised body because it is constituted of traumatised bodies. This monograph explores the nature of that trauma and examines the implications of identifying the trauma of this body. Constructing new ways of thinking about the narratives at the heart of the Christian faith, 'Broken Bodies' offers a fresh perspective on Christian theology, in particular the Eucharist, and presents a call to love the body in all its guises. It offers new pathways for considering what it means to ‘be Christian’ and explores the impact that the experience of trauma has on Christian doctrine.
The work of John Howard Yoder has become increasingly influential in recent years. Moreover, it is gaining influence in some surprising places. No longer restricted to the world of theological ethicists and Mennonites, Yoder has been discovered as a refreshing voice by scholars working in many other fields. For thirty-five years, Yoder was known primarily as an articulate defender of Christian pacifism against a theological ethics guild dominated by the Troeltschian assumptions reflected in the work of Walter Rauschenbusch and Reinhold and Richard Niebuhr. But in the last decade, there has been a clearly identifiable shift in direction. A new generation of scholars has begun reading Yoder alongside figures most often associated with post-structuralism, neo-Nietzscheanism, and post-colonialism, resulting in original and productive new readings of his work. At the same time, scholars from outside of theology and ethics departments, indeed outside of Christianity itself, like Romand Coles and Daniel Boyarin, have discovered in Yoder a significant conversation partner for their own work. This volume collects some of the best of those essays in hope of encouraging more such work from readers of Yoder and in hopes of attracting others to his important work.
Unleash the power of God’s grace as you journey through the Old Testament. Prepare to be challenged and transformed as you explore the stories and testimonies of the Bible, where grace refuses to be tamed. Grace is a dangerous topic. We want to domesticate it, calm it down, and stuff it into a blue blazer and a pair of khakis. But biblical grace—or charis—doesn’t like to settle down. Grace is a dangerous topic because the Bible is a dangerous book. Scandalous Grace offers: Biblically rich viewpoints that challenge conventional interpretations; An exploration of grace in the Old Testament instead of a focus on judgment; Theological perspective that showcases a benevolent God who consistently extends redemption to those seen as irredeemable. Whether you're a seasoned theologian or seeking Christian spiritual growth, Scandalous Grace promises an intellectual and spiritual journey that will expand your understanding of a God whose grace knows no boundaries.
"Poetic, insightful, and deeply moving. David Means is one of my very favorite writers." —Tara Westover, author of Educated Following the publication of his widely acclaimed, Man Booker-nominated novel Hystopia, David Means here returns to his signature form: the short story. Thanks to his four previous story collections, Means has won himself an international reputation as one of the most innovative short fiction writers working today: an “established master of the form.” (Laura Miller, The Guardian). Instructions for a Funeral—featuring work from The New Yorker, Harper’s, The Paris Review, and VICE—finds Means branching out beyond the explorations of violence and trauma with which he is often identified, prominently displaying his sly humor and his inimitable way of telling tales that deliciously wind up to punch the reader in the heart. With each story Means pushes into new territory, writing with tenderness and compassion about fatherhood, marriage, a homeless brother, the nature of addiction, and the death of a friend at the hands of a serial-killer nurse. Means transmutes a fistfight in Sacramento into a tender, life-long love story; two FBI agents on a stakeout in the 1920s into a tale of predator and prey, paternal urges and loss; a man’s funeral instructions into a chronicle of organized crime, real estate ventures, and the destructive force of paranoia. Means’s work has earned him comparisons to Flannery O’Connor, Alice Munro, Sherwood Anderson, Denis Johnson, Edgar Allan Poe, Anton Chekhov, and Raymond Carver but his place in the American literary landscape is fully and originally his own. "David Means is a master of tense, distilled, quintessentially American prose. Like any artist who has finely honed his talent to its strongest expression he is a brilliant craftsman whose achievement is to appear unstudied, even casual . . . Each story by Means which I have read is unlike the others, unexpected and an unnerving delight." —Joyce Carol Oates
When the basic conceptions of the world held by whole generations in the West are formed by popular culture, and in particular by the music that serves as its soundtrack, can theology remain unchanged? The authors of the essays in this important volume insist that the answer is no. These gifted theologians help readers make sense of what happens to religious experience in a world heavily influenced by popular media culture, a world in which songs, musicians, and celebrities influence our individual and collective imaginations about how we might live. Readers will consider the theological relationship between music and the creative process, investigate ways that music helps create communities of heightened moral consciousness, and explore the theological significance of songs. Contributors to this fascinating collection include: David Dalt Maeve Heaney Daniel White Hodge Michael J. Iafrate Jeffrey F. Keuss Mary McDonough Gina Messina-Dysert Christian Scharen Myles Werntz Tom Beaudoin is associate professor of theology at Fordham University, specializing inpractical theology. His books include Witness to Dispossession: The Vocation of a Postmodern Theologian; Consuming Faith: Integrating Who We Are with What We Buy; and Virtual Faith: The Irreverent Spiritual Faith of Generation X. He has given nearly 200 papers, lectures, or presentations on religion and culture over the last thirteen years. He has been playing bass in rock bands since 1986 and directs the Rock and Theology Project for Liturgical Press (www.rockandtheology.com). "