Scoring Transcendence

How can the arts witness to the transcendence of the Christian God? It is widely believed that there is something transcendent about the arts, that they can awaken a profound sense of awe, wonder, and mystery, of something “beyond” this world. Many argue that this opens up fruitful opportunities for conversation with those who may have no use for conventional forms of Christianity. Jeremy Begbie—a leading voice on theology and the arts—in this book employs a biblical, trinitarian imagination to show how Christian involvement in the arts can (and should) be shaped by a vision of God’s transcendence revealed in the person of Jesus Christ. After critiquing some current writing on the subject, he goes on to offer rich resources to help readers engage constructively with the contemporary cultural moment even as they bear witness to the otherness and uncontainability of the triune God of love.

This comprehensive volume brings together the best available clinical scoring systems for thematic apperceptive techniques (TATs), presented in research summaries along with practice stories and available scoring manuals. A Handbook of Clinical Scoring Systems for Thematic Apperceptive Techniques raises awareness about the availability and usefulness of TAT scoring systems for research, training, and clinical practice; provides the materials needed for learning and using the most useful available clinical systems; and facilitates their use by making independent learning and systematic research easier. This book should be in the library of every faculty member and clinical supervisor who is responsible for teaching courses in psychological assessment or supervising assessment students in clinical, counseling, school, or forensic psychology, whether in academic or practice settings, practicum sites, or internships.

Films are the lingua franca of western culture; for decades they have provided viewers with a universal way of understanding the human experience. And film music, Kutter Callaway demonstrates, has such a profound effect on the human spirit that it demands theological reflection. By engaging scores from the last decade of popular cinema, Callaway reveals how a musically aware approach to film can yield novel insights into the presence and activity of God in contemporary culture. And, through conversations with these films and their filmmakers, viewers can gain a new understanding of how God may be speaking to modern society through film and its transcendent melodies.

This book provides a framework by which a global audience might think theologically about contemporary films produced in mainland China by Chinese directors. Up to this point the academic discipline of Christian theology and film has focussed predominantly on Western cinema, and as a result, has missed out the potential insights offered by Chinese spirituality on film. Mainland Chinese films, produced within the nation’s social structure, offer an excellent lingua franca of China. Illuminating the spiritual imagination of Chinese filmmakers and their yearning for transcendence, the book uses Richard A. Blake’s concept of afterimage to analyse the potential theological implications of their films. It then brings Jürgen Moltmann’s "immanent-transcendence" and Robert K. Johnston’s "God’s wider Presence" into conversation with Confucianist and Daoist ideas of there being, spirituality-speaking, "More in Life than Meets the Eye" than simply material existence. This all combines to move beyond film and allow for a Western audience to gain a new perspective on Chinese culture and traditions. One that uses familiar Western terms, while avoiding the imposition of a Western mindset. This is a new perspective on cinema, religion and Chinese culture that will be of keen interest to scholars of Religion and Film, Religious Studies, Theology, Sociology of Religion and Chinese Studies.

How might film reveal God? In its most basic form, film is a series of images displayed over time. Of course, film has developed greatly since the Lumière brothers by adding components such as sound, special effects, digital recording, and more to create an increasingly complex artistic medium. Historically, film studies has often focused on the narrative aspect of film as it seeks to tell a story. More recent studies, however, have turned attention to other elements of film, such as the musical score. Yet, film remains, in a sense, a series of images. In this Studies in Theology and the Arts (STA) volume, theologian Richard Goodwin considers how the images that constitute film might be a conduit of God's revelation. By considering works by Carl Theodor Dreyer, Stanley Kubrick, Paul Thomas Anderson, Robert Bresson, Martin Scorsese, Terrence Malick, and more, Goodwin argues that by inviting emotional responses, film images can be a medium of divine revelation. Blessed are those who have seen God... through film. The Studies in Theology and the Arts series encourages Christians to thoughtfully engage with the relationship between their faith and artistic expression, with contributions from both theologians and artists on a range of artistic media including visual art, music, poetry, literature, film, and more.

"The most sustained and sophisticated conversation between constructive-developmental and transpersonal psychologies available in print. The result is a wonderfully demanding and rewarding collection of chapters beyond the cutting edge!"-Robert Kegan, Harvard University and The Massachusetts School of Professional Psychology

For centuries the "treatment" of mentally disturbed individuals was quite simple. They were accused of collusion with evil spirits, hunted, and persecuted. The last "witch" was killed as late as 1782 in Switzerland. Mentally disturbed people did not fare much better even when the witchhunting days were gone. John Christian Reil gave the following description of mental pa tients at the crossroads of the fifteenth and sixteenth centuries: We incarcerate these miserable creatures as if they were criminals in abandoned jails, near to the lairs of owls in barren canyons beyond the city gates, or in damp dungeons of prisons, where never a pitying look of a humanitarian penetrates; and we let them, in chains, rot in their own excrement. Their fetters have eaten off the flesh of their bones, and their emaciated pale faces look expectantly toward the graves which will end their misery and cover up our shamefulness. (1803) The great reforms introduced by Philippe Pinel at Bicetre in 1793 augured the beginning of a new approach. Pinel ascribed the "sick role," and called for compas sion and help. One does not need to know much about those he wants to hurt, but one must know a lot in order to help. Pinel's reform was followed by a rapid develop ment in research of causes, symptoms, and remedies of mental disorders. There are two main prerequisites for planning a treatment strategy.

In this unique volume, a number of scholars spanning diverse areas and backgrounds offer fresh insight into how perceived concepts of horror and dark subject matter influence cultures and societies around the world. The contributions here explore how topics considered disturbing, mysterious, or fascinating are found not only in works of fiction and entertainment, but also in the cultural fabrics, belief systems, artistic creations, and even governmental structures of societies. Topics discussed in this book include witchcraft, voodoo, zombies, spiritualism, serial killers, monsters, cemeteries, pop culture entertainment, and the sublime in transcendental experiences. As the academic study of horror becomes more mainstream, collections such as this are instrumental in realizing just how much it impacts our lives—past, present, future, and imaginary. Thus, this volume of intriguing and profound topics offers scholars, students, and lovers of learning a much-needed fresh and innovative intellectual exploration of the horror genre and the cultural fascination with the mysterious unknown.