Protestant theology and culture are known for a reserved, at times skeptical, attitude to the use of art and aesthetic forms of expression in a religious context. In Transcendence and Sensoriness, this attitude is analysed and discussed both theoretically and through case studies considered in a broad theological and philosophical framework of religious aesthetics. Nordic scholars of theology, philosophy, art, music, and architecture, discuss questions of transcendence, the human senses, and the arts in order to challenge established perspectives within the aesthetics of religion and theology.

Loy draws from giants of psychotherapy and existentialism, from Nietzsche to Kierkegaard to Sartre, to explore the fundamental issues of life, death, and what motivates us. Whatever the differences in their methods and goals, psychotherapy, existentialism, and Buddhism are all concerned with the same fundamental issues of life and death—and death-in-life. In Lack and Transcendence (originally published by Humanities Press in 1996), David R. Loy brings all three traditions together, casting new light on each. Written in clear, jargon-free style that does not assume prior familiarity, this book will appeal to a wide variety of readers including psychotherapists and psychoanalysts, scholars of religion, Continental philosophers, and readers seeking clarity on the Great Matter itself. Loy draws from giants of psychotherapy, particularly Freud, Rollo May, Irvin Yalom, and Otto Rank; great existentialist thinkers, particularly Nietzsche, Kierkegaard, Heidegger, and Sartre; and the teachings Buddhism, particularly as interpreted by Nagarjuna, Huineng and Dogen. This is the definitive edition of Loy’s seminal classic.

Paradoxes have become characteristic of the world we live in - poverty and privilege, empire and oppression, migration and enclaveseeking, war and peace, justice and injustice, reconciliation and revenge. During the 2016 Societas Homiletica annual conference held in South Africa, these paradoxes served as a rediscovery of the calling of preachers to deliver the promise that lies within life's contradictions. A divine promise brought forth by the grace of God and the gospel of Christ - embodied in and through us by the Spirit of Christ. This promise may take many forms and calls for discernment and often interrupts the status quos in surprising, shocking ways. It is a promise that interrupts, in order to comfort.

Imagination allows individuals and groups to think beyond the here-and-now, to envisage alternatives, to create parallel worlds, and to mentally travel through time. Imagination is both extremely personal (for example, people imagine unique futures for themselves) and deeply social, as our imagination is fed with media and other shared representations. As a result, imagination occupies a central position within the life of mind and society. Expanding the boundaries of disciplinary approaches, the Handbook of Imagination and Culture expertly illustrates this core role of imagination in the development of children, adolescents, adults, and older persons today. Bringing together leading scholars in sociocultural psychology and neighboring disciplines from around the world, this edited volume guides readers towards a much deeper understanding of the conditions of imagining, its resources, its constraints, and the consequences it has on different groups of people in different domains of society. Summarily, this Handbook places imagination at the center, and offers readers new ways to examine old questions regarding the possibility of change, development, and innovation in modern society.

The presence of gold, silver, and other metals is a hallmark of decorated manuscripts, the very characteristic that makes them “illuminated.” Medieval artists often used metal pigment and leaf to depict metal objects both real and imagined, such as chalices, crosses, tableware, and even idols; the luminosity of these representations contrasted pointedly with the surrounding paints, enriching the page and dazzling the viewer. To elucidate this key artistic tradition, this volume represents the first in-depth scholarly assessment of the depiction of precious-metal objects in manuscripts and the media used to conjure them. From Paris to the Abbasid caliphate, and from Ethiopia to Bruges, the case studies gathered here forge novel approaches to the materiality and pictoriality of illumination. In exploring the semiotic, material, iconographic, and technical dimensions of these manuscripts, the authors reveal the canny ways in which painters generated metallic presence on the page. Illuminating Metalwork is a landmark contribution to the study of the medieval book and its visual and embodied reception, and is poised to be a staple of research in art history and manuscript studies, accessible to undergraduates and specialists alike.

The Oxford Handbook of Divine Revelation offers a systemic approach to the notion of revelation in its various theoretical contexts. It provides in-depth coverage of the theoretical and historical fields in which the notion of revelation is discussed. It does not reflect the views of a certain school; under the horizon of contemporary discussions it offers the broadest understanding of the notion. Its main parts include biblical, theological, philosophical, historical, comparative, and scientific-cultural approaches. The contributors discuss the most important contemporary questions in theology, philosophy, and science. The Handbook offers a unique overview of the key problems of revelation, an overview missing from scholarly literature. Featuring contributions from leading scholars, the collection opens up further possibilities of scholarly work and spiritual vistas concerning the notion and the fact of divine revelation.

Through cross-disciplinary explorations of and engagements with nature as a forming part of architecture, this volume sheds light on the concepts of both nature and architecture. Nature is examined in a raw intermediary state, where it is noticeable as nature, despite, but at the same time through, man’s effort at creating form. This is done by approaching nature from the perspective of architecture, understood, not only as concrete buildings, but as a fundamental human way both of being in, and relating to, the world. Man finds and forms places where life may take place. Consequently, architecture may be understood as ranging from the simple mark on the ground and primitive enclosure, to the contemporary megalopolis. Nature inheres in many aesthetic forms of expression. In architecture, however, nature emerges with a particular power and clarity, which makes architecture a raw kind of art. Even though other forms of art, as well as aesthetic phenomena outside the arts, are addressed, the analogy to architecture will be evident and important. Thus, by using the concept of ’raw’ as a focal point, this book provides new approaches to architecture in a broad sense, as well as other aesthetic and artistic practices, and will be of interest to readers from different fields of the arts and humanities, spanning from philosophy and theology to history of art, architecture and music.