Communicating the Word is a record of the 2008 Building Bridges seminar, an annual dialogue between leading Christian and Muslim scholars convened by the Archbishop of Canterbury. Featuring the insights of internationally known Christian and Muslim scholars, the essays collected here focus attention on key scriptural texts but also engage with both classical and contemporary Islamic and Christian thought. Issues addressed include, among others, the different ways in which Christians and Muslims think of their scriptures as the “Word of God,” the possibilities and challenges of translating scripture, and the methods—and conflicts—involved in interpreting scripture in the past and today.
In his concluding reflections, Archbishop Rowan Williams draws attention to a fundamental point emerging from these fascinating contributions: “Islam and Christianity alike give a high valuation to the conviction that God speaks to us. Grasping what that does and does not mean . . . is challenging theological work.”
Determining what is and what is not Mormon doctrine is a difficult endeavor. The Church of Jesus Christ of Latter-day Saints embraces four books of scripture as its canon, but also believes the church is led by a living prophet. Additions to the canon have been rare since the death of church founder Joseph Smith. Joseph Fielding Smith, tenth church president, said that if the prophet ever contradicts canon, canon prevails. On the other hand, Ezra Taft Benson, the church’s thirteenth president, said that the living prophet’s words are more important than cannon. Such messages create no shortage of confusion among church members.
The question “What is doctrine?” opens the door for theologians and historians to wrestle over the answer, and to do so thoughtfully and insightfully. In Continuing Revelation, editor Bryan Buchanan has compiled essays that seek greater understanding about what doctrine is and why it matters.
The Challenge of Defining LDS Doctrine, by Loyd Isao Ericson • LDS Theology and the Omnis: The Dangers of Theological Speculation, by David H. Bailey • Crawling out of the Primordial Soup: A Step toward the Emergence of an LDS Theology Compatible with Organic Evolution, by Steven L. Peck • “To Destroy the Agency of Man”: The War in Heaven in LDS Thought, by Boyd Petersen • Three Sub-Degrees in the Celestial Kingdom?, by Shannon P. Flynn • Heavenly Mother: The Mother of All Women, by Blaire Ostler • Mormonism and the Problem of Heterodoxy, by Kelli D. Potter • Women at the Gates of Mortality: Relief Society Birth and Death Rituals, by Susanna Morrill • “Shake Off the Dust of Thy Feet”: The Rise and Fall of Mormon Ritual Cursing, by Samuel R. Weber • “Satan Mourns Naked Upon the Earth: Locating Mormon Possession and Exorcism Rituals in the American Religious Landscape, 1830–1977, by Stephen C. Taysom
With his mastery of modernist technique and his depictions of characters obsessed with the past, Nobel laureate William Faulkner raised the bar for southern fiction writers. But the work of two later authors shows that the aesthetic of memory is not enough: Confederate thunder fades as they turn to an explicitly religious source of meaning.
According to John Sykes, the fiction of Flannery O’Connor and Walker Percy provides occasions for divine revelation. He traces their work from its common roots in midcentury southern and Catholic intellectual life to show how the two adopted different theological emphases and rhetorical strategies—O’Connor building to climactic images, Percy striving for dialogue with the reader—as a means of uncovering the sacramental foundation of the created order.
Sykes sets O’Connor and Percy against the background of the Southern Renaissance from which they emerged, showing not only how they shared a distinctly Christian notion of art that led them to see fiction as revelatory but also how their methods of revelation took them in different directions. Yet, despite their differences in strategy and emphasis, he argues that the two are united in their conception of the artist as “God’s sharp-eyed witness,” and he connects them with the philosophers and critics, both Christian and non-Christian, who had a meaningful influence on their work.
Through sustained readings of key texts—particularly such O’Connor stories as “The Artificial Nigger” and “The Geranium” and Percy’s novels Love in the Ruins and The Second Coming—Sykes focuses on the intertwined themes of revelation, sacrament, and community. He views their work in relation to the theological difficulties that they were not able to overcome concerning community. For both writers, the question of community is further complicated by the changing nature of the South as the Lost Cause and segregation lose their holds and a new form of prosperity arises.
By disclosing how O’Connor and Percy made aesthetic choices based on their Catholicism and their belief that fiction by its very nature is revelatory, Sykes demonstrates that their work cannot be seen as merely a continuation of the historical aesthetic that dominated southern literature for so long. Flannery O’Connor, Walker Percy, and the Aesthetic of Revelation is theoretically sophisticated without being esoteric and is accessible to any reader with a serious interest in these writers, brimming with fresh insights about both that clarify their approaches to art and enrich our understanding of their work.
Exegesis that bears fruit both for the academy and the church
In this collection of essays and sermons on the Gospel of John and Revelation, friends, colleagues, and former students of Gail R. O’Day explore and extend the possibilities raised by her work in her groundbreaking study Revelation in the Fourth Gospel. The essays engage with both historical contextualization and literary analysis to identify the rhetorical features that ancient readers might have apprehended, while the sermons explore how the literary shape of the text can inform preaching through attention to the narrative modes of the text. Contributions from Yoshimi Azuma, Teresa Fry Brown, Patrick Gray, Lynn R. Huber, Susan E. Hylen, Karoline M. Lewis, Thomas G. Long, Veronice Miles, Vernon K. Robbins, Gilberto A. Ruiz, Ted A. Smith, and William M. Wright IV thematize the importance of narrative approaches and the diverse ways they can be employed.
Recognizing that the seventeenth century's volatile debate over apocalyptic interpretation has since become a one-sided discussion, Esther Gilman Richey develops a context that recovers the dynamism so inherent in the writings of the period and provides illuminating details that enhance the prophetic continuum. The Politics of Revelation in the English Renaissance does not ignore the familiar prophetic verse of Spenser and Milton, but it significantly expands the scope of study by examining the interpretations of both men and women who represent a range of ecclesiastical and political perspectives.
Richey rejects Barbara Lewalski's claim that the radical, prophetic writers and metaphysical poets of the seventeenth century drew inspiration from distinct biblical models, the former from the Apocalypse and the latter from the Psalms. Instead she contends that even writers such as Donne and Herbert, whom we have long considered "literary," were in reality using their poetry to participate in the hottest debates of the time.
While the radical writers, such as Spenser and Milton, were immediately responsive to ecclesiastical and political controversies, the conservative, metaphysical poets—Donne, Herbert, and Vaughan—were posing equally politically charged questions: Is the pope Antichrist? Is the Bride of Christ pure? Is the Temple a model of ecclesiastical reform? The writers of the period did not move in divided and distinguished worlds, but in fact constantly responded to one another through poetic and politically charged dialogue.
By drawing from the writings of various individuals, both radical and conformist, male and female, Richey traces the shifting representations of the apocalyptic Bride and Temple over time. Organized chronologically, the chapters of The Politics of Revelation in the English Renaissance reveal the escalating debate among the pacifists, conformists, militants, and feminists. Not only does Richey uncover the prophetic dimension of conformist writers usually described as apolitical and devotional, but she also explores the writings of lesser-known women prophets: Aemilia Lanyer, Mary Cary, Anna Trapnel, and Margaret Fell. In such biblical passages as the apocalyptic "woman clothed with the sun," these early feminists find the authority for their own prophetic speech.
This provocative analysis—at once far-reaching and tightly focused—reveals the complexity of the apocalyptic discourse that transpired among Renaissance writers and poets.
This longstanding and highly regarded volume is the first to explore the doctrine of prophetic revelation, a critical and definitive area of Islamic religious and political thought. In it, the esteemed Islamic scholar Fazlur Rahman traces the inception of this doctrine from ancient Greek texts, its interpretation and elaboration by Muslim philosophers in order to suit their vision of the Prophet, and, finally, the varying degrees of acceptance of these convergent ideas by the Muslim orthodoxy.
The latest edition of this classic text includes a new foreword by Islamic studies expert Michael Sells, confirming Prophecy in Islam as the best source on its subject after more than half a century. This longstanding and highly regarded volume is the first to explore the doctrine of prophetic revelation, a critical and definitive area of Islamic religious and political thought. In it, the esteemed Islamic scholar Fazlur Rahman traces the inception of this doctrine from ancient Greek texts, its interpretation and elaboration by Muslim philosophers in order to suit their vision of the Prophet, and, finally, the varying degrees of acceptance of these convergent ideas by the Muslim orthodoxy.
The latest edition of this classic text includes a new foreword by Islamic studies expert Michael Sells, confirming Prophecy in Islam as the best source on its subject after more than half a century.
In The Revelation of Imagination, William Franke attempts to focus on what is enduring and perennial rather than on what is accommodated to the agenda of the moment. Franke’s book offers re-actualized readings of representative texts from the Bible, Homer, and Virgil to Augustine and Dante. The selections are linked together in such a way as to propose a general interpretation of knowledge. They emphasize, moreover, a way of articulating the connection of humanities knowledge with what may, in various senses, be called divine revelation. This includes the sort of inspiration to which poets since Homer have typically laid claim, as well as that proper to the biblical tradition of revealed religion. The Revelation of Imagination invigorates the ongoing discussion about the value of humanities as a source of enduring knowledge.
Among postimpressionist painters, Van Gogh, Seurat, Cézanne, and Gauguin produced a remarkable body of work that responded to a cultural and spiritual crisis in the avant-garde world—influences that pushed them toward an increasing reliance on science, literature, and occultism. In Revelation of Modernism, renowned art historian Albert Boime reappraises specific works by these masters from a perspective more appreciative of the individuals’ inner conflicts, offering the art world a new understanding of a period fraught with apocalyptic fears and existential anxieties.
Building on the seminal observations of Sven Lövgren from a half-century ago, Boime rejects popular notions of “art for art’s sake” and rethinks an entire movement to suggest that history, rather than expressive urge, is the driving force that shapes art. He reconsiders familiar masterpieces from a fresh perspective, situating the art in the contexts of history both real and speculative, of contemporary philosophy, and of science to depict modernism as a development that ultimately failed.
Boime expands on what we think we know about these figures and produces startling new revelations about their work. From the political history of Seurat’s Parade de cirque to the astronomical foundations of Van Gogh’s Starry Night, he draws analogies between literary sources and social, personal, and political strategies that have eluded most art historians. He offers a richer and more complex vision of Cézanne, considering the artist as an Old Testament figure in search of the Promised Landscape. And he provides a particularly detailed look at Gauguin—on whom Boime has never previously published—that takes a closer look at the artist’s The Vision after the Sermon and its allusions to Eliphas Lévi’s writings, sheds light on the sources for From whence do we come? and offers new thoughts about Gauguin’s various self-portraits.
Boime’s latest contribution further testifies to his status as one of our most important living art historians. As entertaining as it is eloquent, Revelation of Modernism is a bold and groundbreaking work that should be required reading for all who wish to understand the contradictory origins and development of modernism and its role in history.
A fresh contribution to the growing body of New Testament scholarship on empire, both ancient and modern
Darden’s reading of Revelation examines John the Seer’s rhetorical strategy, in general, and imperial cult imagery in chapters 4 and 5, in particular, through the lens of an African American scripturalization supplemented by postcolonial theory. The scripturalization proposes that John the Seer’s signifyin(g) on empire demonstrated that he was well aware of the oppressive nature of Roman imperialism on the lives of provincial Asian Christians. Yet, ironically, John reinscribed imperial processes and practices. Darden argues that African American biblical scholarship must now attend adequately to these complex cultural negotiations lest it find itself inadvertently feeding the imperial beast.
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Memorates—personal experience narratives of encounters with the supernatural—that recount individuals’ personal revelations, primarily through the Holy Ghost, are a pervasive aspect of the communal religious experience of Mormons, members of the Church of Jesus Christ of Latter-day Saints. In accordance with current emphases in folklore studies on narrative and belief, Tom Mould uses ethnographic research and an emic approach that honors the belief systems under study to analyze how people within Mormon communities frame and interpret their experiences with the divine through the narratives they share. In doing so, he provides a significant new ethnographic interpretation of Mormon culture and belief and also applies his findings directly to broader scholarly folklore discourse on performance, genre, personal experience narrative, belief, and oral versus written traditions.
Now available in English
Josef Schmid's landmark publication, Studien zur Geschichte des Griechischen Apokalypse-Textes, has been the standard work for understanding Revelation's Greek manuscript tradition and textual history for more than sixty years. Despite the fact that most major studies on the book are based on Schmid's work, the work itself has long been out of print, making it difficult for the broader scholarly community to reassess Schmid's conclusions in light of recent manuscript discoveries and technological advances. This new translation of the work makes Schmid's detailed review of the history of textual scholarship; his comprehensive examination of the origin, history, and development of the Greek manuscripts of the book of Revelation; and his assessment of John's peculiar linguistic writing style accessible to a new generation of scholars.
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In 2001, a Swedenborgian minister found a set of seven magnificent stained-glass windows stored in old crates in a barn in rural Pennsylvania. Their story illuminates a fascinating facet of American art history as well as an important set of spiritual teachings.
In 1902, a Swedenborgian church in Glendale, Ohio, commissioned the seven windows as a gift for their sister church in Cincinnati. Each window depicts an angel that represents one of the seven churches described in the book of Revelation. The windows were designed and created in the studios of Louis Comfort Tiffany, and they reflect not only the rich symbolism found in the Bible, but Tiffany’s hallmark color and brilliance. Tiffany’s love of revealing angels in stained glass shines through in every panel.
After their original home was torn down in 1964, the windows were put into storage, only to be rediscovered and painstakingly restored years later. Now a traveling exhibition, the seven angels have been given a new life as shining examples of Tiffany’s art and as a focus for spiritual reflection and meditation.
Tiffany’s Swedenborgian Angels guides the reader not only through the history of the windows, but the spiritual meaning of each one, weaving Swedenborg’s teachings with the luminous imagery of the angels themselves. If you have seen the exhibition, the book allows you to revisit the windows again any time; if you have not, it is a powerful introduction to a vivid piece of spiritual history.
An interlinked collection of essays representing the best of Stephen D. Moore’s groundbreaking scholarship
This collection of previously published essays is a companion to The Bible in Theory: Critical and Postcritical Essays (2010). Chapters engage postcolonial studies, cultural studies, deconstruction, autobiographical criticism, masculinity studies, queer theory, affect theory, and animality studies—methods Moore believes present unprecedented challenges to the monochrome model of Revelation scholarship based on traditional historical-critical methods.
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