Theological Stains offers the first in-depth study of the development of art music in Israel from the mid-twentieth century to the turn of the twenty-first. In a bold and deeply researched account, author Assaf Shelleg explores the theological grammar of Zionism and its impact on the art music written by emigrant and native composers. He argues that Israeli art music, caught in the tension between a bibliocentric territorial nationalism on the one hand and the histories of deterritorialized Jewish diasporic cultures on the other, often features elements of both of these competing narratives. Even as composers critically engaged with the Zionist paradigm, they often reproduced its tropes and symbols, thereby creating aesthetic hybrids with 'theological stains.' Drawing on newly uncovered archives of composers' autobiographical writings and musical sketches, Shelleg closely examines the aesthetic strategies that different artists used to grapple with established nationalist representations. As he puts the history of Israeli art music in conversation with modern Hebrew literature, he weaves a rich tapestry of Israeli culture and the ways in which it engaged with key social and political developments throughout the second half of the twentieth century. In analyzing Israeli music and literature against the backdrop of conflicts over territory, nation, and ethnicity, Theological Stains provides a revelatory look at the complex relationship between art and politics in Israel.

"Theological Stains traces the growth of art music in Israel from the mid twentieth century to the turn of the twenty-first. In a riveting and provocative account, Assaf Shelleg explores the theological grammar of Zionism and its impact on the art music written by emigrant and native composers grappling with biblical redemptive promises and diasporic patrimonies. Unveiling the network that bred territorial nationalism and Hebrew culture, Shelleg shows how this mechanism infiltrated composers' work as much as it triggered less desirable responses from composers who sought to realize to the non-territorial Diasporic options Zionism has renounced. In the process compositional aesthetics gets stained by the state's nationalization of the theological, by diasporism that refuses redemption, and by Jewish musical traditions that permeated inaudibly to compositions written throughout the second half of the twentieth century. Accompanying this rich and dramatic story are equivalent developments in modern Hebrew literature and poetry alongside vast and previously unstudied archival sources. The book is also lavishly illuminated with 135 music examples that render it an incisive guide to fundamental chapters in modern and late modern art music"--

This study examines theological themes and resonances in post-1970 Gothic fiction. It argues that contemporary Gothic is not simply a secularised genre, but rather one that engages creatively – and often subversively – with theological texts and traditions. This creative engagement is reflected in Gothic fiction’s exploration of theological concepts including sin and evil, Christology and the messianic, resurrection, eschatology and apocalypse. Through readings of fiction by Gothic and horror writers including Stephen King, Joyce Carol Oates, Peter Straub, William Peter Blatty and others, this book demonstrates that Christianity continues to haunt the Gothic imagination and that the genre’s openness to the mysterious, numinous and non-rational opens space in which to explore religious beliefs and experiences less easily accessible to more overtly realist forms of representation. The book offers a new perspective on contemporary Gothic fiction that will be of interest to students and scholars of contemporary Gothic and of the relationship between literature and religion more generally.

In its creative integration of the disciplines of writing, rhetoric, and theology, Writing Theology Well provides a standard text for theological educators engaged in the teaching and mentoring of writing across the theological curriculum. As a theological rhetoric, it will also encourage excellence in theological writing in the public domain by helping to equip students for their wider vocations as writers, preachers, and communicators in a variety of ministerial and professional contexts.

Why do religious people believe what they shouldn't -- not what others think they shouldn't believe, but things that don't accord with their own avowed religious beliefs? D. Jason Slone terms this phenomenon "theological incorrectness." He argues that it exists because the mind is built in such a way that it's natural for us to think divergent thoughts simultaneously. Human minds are great at coming up with innovative ideas that help them make sense of the world, he says, but those ideas do not always jibe with official religious beliefs. From this fact we derive the important lesson that what we learn from our environment -- religious ideas, for example -- does not necessarily cause us to behave in ways consistent with that knowledge. Slone presents the latest discoveries from the cognitive science of religion and shows how they help us to understand exactly why it is that religious people do and think things that they shouldn't.

Hymns and the music the church sings in worship are tangible means of expressing worship. And while worship is one of, if not the central functions of the church along with mission, service, education, justice, and compassion, and occupies a prime focus of our churches, a renewed sense of awareness to our theological presuppositions and cultural cues must be maintained to ensure a proper focus in worship. Hymns and Hymnody: Historical and Theological Introductions is a sixty-chapter, three-volume introductory textbook describing the most influential hymnists, liturgists, and musical movements of the church. This academically grounded resource evaluates both the historical and theological perspectives of the major hymnists and composers who have impacted the church over the course of twenty centuries. Volume 1 explores the early church and concludes with the Renaissance era hymnists. Volume 2 begins with the Reformation and extends to the eighteenth-century hymnists and liturgists. Volume 3 engages nineteenth century hymnists to the contemporary movements of the twenty-first century. Each chapter contains these five elements: historical background, theological perspectives communicated in their hymns/compositions, contribution to liturgy and worship, notable hymns, and bibliography. The mission of Hymns and Hymnody is (1) to provide biographical data on influential hymn writers for students and interested laypeople, and (2) to provide a theological analysis of what these composers have communicated in the theology of their hymns. We believe it is vital for those involved in leading the worship of the church to recognize that what they communicate is in fact theology. This latter aspect, we contend, is missing—yet important—in accessible formats for the current literature.

"Ask two religious people one question, and you'll get three answers!" Why do religious people believe what they shouldn't--not what others think they shouldn't believe, but things that don't accord with their own avowed religious beliefs? This engaging book explores this puzzling feature of human behavior. D. Jason Slone terms this phenomenon "theological incorrectness." He demonstrates that it exists because the mind is built it such a way that it's natural for us to think divergent thoughts simultaneously. Human minds are great at coming up with innovative ideas that help them make sense of the world, he says, but those ideas do not always jibe with official religious beliefs. From this fact we derive the important lesson that what we learn from our environment--religious ideas, for example--does not necessarily cause us to behave in ways consistent with that knowledge. Slone presents the latest discoveries from the cognitive science of religion and shows how they help us to understand exactly why it is that religious people do and think things that they shouldn't. He then applies these insights to three case studies. First he looks at why Theravada Buddhists profess that Buddha was just a man but actually worship him as a god. Then he explores why the early Puritan Calvinists, who believed in predestination, acted instead as if humans had free will by, for example, conducting witch-hunts and seeking converts. Finally, he explains why both Christians and Buddhists believe in luck even though the doctrines of Divine Providence and karma suggest there's no such thing. In seeking answers to profound questions about why people behave the way they do, this fascinating book sheds new light on the workings of the human mind and on the complex relationship between cognition and culture.