In this book, Chris Kugler situates Paul’s imago Dei theology within the complex and contested context of second-temple Judaism and early Christianity in the Greco-Roman world. He argues that Paul adapted the Jewish wisdom and Middle Platonic traditions regarding divine intermediaries so as to present the preexistent Jesus as the cosmogonical image of God (according to which Adam himself was made) and toward which the whole of humanity was destined. In this way, Paul includes Jesus within the most exclusive theological category of second-temple Jewish monotheism: cosmogonical activity. Paul’s imago Dei christology, therefore, is a clear instance of “christological monotheism.” Moreover, Kugler demonstrates that this interpretation of Paul’s imago Dei theology allows for a fresh reading of some of the most contested texts in Paul’s letters: 2 Corinthians 3–4; Romans 7–8; and Colossians 1.15–20; 3.10. He demonstrates that at the rhetorical level, Paul presents himself and his sympathizers as true philosophers who attain to the (Middle Platonic) telos of true philosophy: the image of God; while he presents his opponents as advocates of an empty and deceitful philosophy.

In Paul and Image, Philip Erwin challenges conventional interpretations of 1 Corinthians that tend to overlook the significance of ancient Roman visual culture in framing and posing exegetical questions. He argues that in 1 Corinthians Paul engaged in a long-standing philosophical discussion of visual representation, with consequential implications for how he and his Corinthian addressees interacted with the imagery around them. By situating Paul’s letter in the context of the critical discourse on visual representation from Plato to Philo to the Second Sophistic, Erwin redefines Paul’s critique of human wisdom, treatment of idols, and resurrection discourse in visual terms.

In his letters to the early Christian communities, the apostle Paul left for Christians of all time an array of powerful images: from the pain of a thorn in the flesh to the tenderness of a nursing mother for her children, from the competition on an athletic field to the growth of an agricultural field. In The Power of Images in Paul, Raymond Collins explores how Paul uses the ordinary to describe what is extraordinary, how Paul skillfully uses a wide range of metaphors as a means of both persuasion and clarification. But this book is more than an analysis of Paul’s images themselves. Collins also examines how Paul deliberately draws from secular as well as religious and biblical themes in order to draw a culturally diverse audience into relationship with Christ. Entering Paul’s world with Collins, readers will better appreciate Paul’s use of metaphor and, more important, be persuaded as was Paul’s original audience of God’s unfailing love in Christ.

Collier Schorr met Paul Hameline, a young French artist and model, in New York in 2015. A friend of friend, he came to her home for a "go-see", which is when a photographer gets to see how a model looks in front of the camera. Paul's family lives in the Marais section of Paris around the corner from the hotel Collier stays at while in Paris, so they began to meet and to make a project that lasted two years in which Collier would visit Paul at his parents' house and take pictures and talk. The idea was for Paul and Collier to experience photography as a social space, a conversation in which his body and her eyes could try and understand each other's fascinations and fantasies. Many of the pictures were published in 'Re Edition' magazine. 'Paul's Book' expands that magazine story to form a larger piece about the way in which a photographer and model can search for some greater revelations with the simplest movements and various states of undress. --

THE VOICE OF GOD IS A HEARTBEAT AWAYIn Fearfully & Wonderfully Made, Philip Yancey and Dr. Paul Brand revealed how God’s voice is encoded in the very structure of our bodies. In His Image takes up where its predecessor left off, beckoning us once again inward and onward to fresh exploration and discovery.Yancey and Brand show how accurately and intricately the human body portrays the Body of Christ. In five sections—Image, Blood, Head, Spirit, and Pain—the acclaimed surgeon and the award-winning writer unlock the remarkable, living lessons contained in our physical makeup. This Gold Medallion Award-winning book will open your eyes to the complex miracle of the human body, and the even more compelling spiritual truths that it reflects.

Pauline Christianity sprang to life in a world of imperial imagery. In the streets and at the thoroughfares, in the market places and on its public buildings and monuments, and especially on its coins the Roman Empire's imperial iconographers displayed imagery that aimed to persuade the Empire's diverse and mostly illiterate inhabitants that Rome had a divinely appointed right to rule the world and to be honoured and celebrated for its dominion. Harry O. Maier places the later, often contested, letters and theology associated with Paul in the social and political context of the Roman Empire's visual culture of politics and persuasion to show how followers of the apostle visualized the reign of Christ in ways consistent with central themes of imperial iconography. They drew on the Empire's picture language to celebrate the dominion and victory of the divine Son, Jesus, to persuade their audiences to honour his dominion with praise and thanksgiving. Key to this imperial embrace were Colossians, Ephesians, and the Pastoral Epistles. Yet these letters remain neglected territory in consideration of engagement with and reflection of imperial political ideals and goals amongst Paul and his followers. This book fills a gap in scholarly work on Paul and Empire by taking up each contested letter in turn to investigate how several of its main themes reflect motifs found in imperial images.

Born in 1884, Frank R Paul was slated to study for the priesthood; instead, he studied art and architectural and mechanical drafting. The impact of these studies are evident in his brilliant and original science-fiction artwork. In 1914 Paul met Hugo Gernsback and began illustrating for Gernsback's Electrical Experimenter & Science & Invention. By 1926 when Gernsback's Amazing Stories was born Paul was ready: a talented calligrapher, Paul not only created the magazine's famed comet logo, but also the front cover painting and all of the interior black and white illustrations. Subsequently, over the span of his career, Paul was to paint over 200 published sci-fi covers and in excess of 1,000 black-and-white interiors. To say that Frank R Paul is the father of science-fiction illustration art is an understatement: his fertile imagination, amply demonstrated by the paintings and drawings in this book, speak for themselves and his legacy continues to influence the field today. Here, in this giant compendium, is the very first collection ever published showcasing many of Paul's full-colour science-fiction artwork along with appreciations and critical essays by Sir Arthur C Clarke and by Stephen Korshak; Jerry Weist and Roger Hill; Sam Moskowitz; Gerry de la Ree; Forrest J Ackerman and Frank Wu. Here is a volume to be enjoyed and cherished.