A shattering chronicle of the life and death of the Cathar movement -- one of Western civilization's great tragedies. At the beginning of the 13th century, the Cathars, a group of heretical Christians, thrived across what is now southern France, but was then a patchwork of city states and principalities beholden to neither king nor bishop. The Cathars held revolutionary beliefs that threatened the authority of the Catholic Church as well as the legitimacy of feudal law: they thought the idea of Hell, indeed the entire metaphysic constructed by the Church, to be a sham; they rejected all sacraments, including marriage; they thought private property an absurd notion and that all things worldly were corrupt; they gave women religious status equal to men. Though they lived peacefully, the Cathars growing influence enraged a Catholic Church that was flexing its muscle after decades of weakness, and its powerful Pope, Innocent III. The Church recruited the forces of France, eager to expand her territory to the south, and systematically attacked the Cathars in crusades between 1209 and 1229. By the time the wars were over, the map of Europe had been rearranged, and the Inquisition -- unleashed. Full of colourful and passionate personalities, The Perfect Heresy sheds new light on the 13th century and on the timelessness of religious intolerance.

Heresy and the Ideal is a powerful collection of essays and essay-reviews which David Baker wrote and published throughout the 1990s. He thoroughly discusses the work of more than fifty contemporary poets, including T. R. Hummer, Miller Williams, Albert Goldbarth, Jane Kenyon, Galway Kinnell, Charles Simic, Ted Kooser, David Wojahn, Alice Fulton, Louise Glück, and Charles Wright. He takes as his models some of the great critical books of the past three decades, especially Richard Howard's masterpiece, Alone with America, and Helen Vendler's Part of Nature, Part of Us, as well as other works by Laurence Lieberman, Majorie Perloff, Carol Muske, and Mary Kinzie. At its center, Heresy and the Ideal is based on Baker's sense of Romantic poetics, especially on how contemporary poets have applied, altered, or rejected certain Romantic principles. He uses the Romantic trope to measure the tension between passion and reason and between the problems of literary transcendence and the obligations of social engagement. The result is a welcome variety of enlightening, practical criticism devoid of exclusionary jargon and based on persistent attention to an individual poem or book of poems. Utilizing the essay-review, Baker considers each poet's purposes and achievements. He blends the strategies of explanation, analysis, and evaluation, clarifying each poet's work instead of complaining or condemning. Heresy and the Ideal addresses a wide and diverse range of contemporary poetry and should take a deserved place both as a critical introduction to the work of many important poets and as a work that documents and explores the shape of poetry at the end of the millennium.

Some of the most portentous events in medieval history—the Cathar crusade, the persecution and mass burnings of heretics, the papal inquisition—fall between 1000 and 1250, when the Catholic Church confronted the threat of heresy with force. Moore’s narrative focuses on the motives and anxieties of elites who waged war on heresy for political gain.

Beginning with Walter Bauer in 1934, the denial of clear orthodoxy in early Christianity has shaped and largely defined modern New Testament criticism, recently given new life through the work of spokesmen like Bart Ehrman. Spreading from academia into mainstream media, the suggestion that diversity of doctrine in the early church led to many competing orthodoxies is indicative of today's postmodern relativism. Authors Köstenberger and Kruger engage Ehrman and others in this polemic against a dogged adherence to popular ideals of diversity. Köstenberger and Kruger's accessible and careful scholarship not only counters the "Bauer Thesis" using its own terms, but also engages overlooked evidence from the New Testament. Their conclusions are drawn from analysis of the evidence of unity in the New Testament, the formation and closing of the canon, and the methodology and integrity of the recording and distribution of religious texts within the early church.

Bestselling author Michael Coren explodes popular myths about the history, beliefs, and culture of Christianity. Michael Coren explores why and how Christians and Christian ideas are caricatured in popular media as well as in sophisticated society. He takes on, and debunks, ten great myths about Christianity: that it supports slavery, is racist, sexist, homophobic, anti-intellectual, anti-Semitic, provokes war, resists progress, and is repressive and irrelevant. In a climate that is increasingly as ignorant of Christianity as it is good at condemning it, Coren gives historical background, provides examples of how these attacks are made, and explains the reality of the Christian response, outlining authentic Christian beliefs.

Irenaeus, Joseph Smith, and God-Making Heresy seeks both to demonstrate the salience of “heresy” as a tool for analyzing instances of religious conflict far beyond the borders of traditional historical theology and to illuminate the apparent affinity for deification exhibited by some persecuted religious movements. To these ends, the book argues for a sociologically-informed redefinition of heresy as religiously-motivated opposition and applies the resulting concept to the historical cases of second-century Christians and nineteenth-century Mormons. Ultimately, Irenaeus, Joseph Smith, and God-Making Heresy is a careful application of the comparative method to two new religious movements, highlighting the social processes at work in their early doctrinal developments.

"At its center, Heresy and the Ideal is based on Baker's sense of Romantic poetics, especially on how contemporary poets have applied, altered, or rejected certain Romantic principles. He uses the Romantic trope to measure the tension between passion and reason and between the problems of literary transcendence and the obligations of social engagement."--BOOK JACKET.