Teeth And Talons Whetted For Slaughter

Is a life cycle that depends on eating or being eaten compatible with a creation in which 'the heavens are telling the glory of God; and the firmament proclaims His handiwork'? Are animal death and extinction manifestations of a good God's majesty and power? When creating the world, did God use animal death and extinction as a means to realize his intentions? This study challenges the view that the emergence and acceptance of the theory of evolution brought a break in thinking about animal suffering in a good creation. Even before Darwin, people thought about animal suffering, about how God's goodness and good creation related to this, and about whether animals were already subject to death in paradise. Historically, Charles Darwin's theory of evolution did not form a watershed in the debate about animal suffering, nor did concerns about animal suffering only emerge with the Darwinian theory of evolution.

Een onderzoek naar de historische visie op God en dierenleed. Relevant voor de bezinning op evolutie en christelijk geloof. Piet Slootweg is emeritus hoogleraar pathologie aan het Radboud Universiteit Nijmegen.

Annotation. "What is life? What does it means to be alive? Is the Earth a super-organism? Is God necessary? In Biology and the Riddle of Life Charles Birch confronts these fundamental questions at a time when such topics as genetic engineering, cloning and ecology have been prominent in the news. Birch confronts the impression that modern biology has answers to all that there is to be known about life. We need to move towards an understanding of living creatures as subjects, and not only as objects, in order to probe life's hidden secrets - what it is to be alive, what it is to experience pain, and what it is to be in love. The answer must include the meaning of life for us as individuals. Birch proposes a new perspective to bring subject and object together. This is the black box he has opened."--BOOK JACKET. Title Summary field provided by Blackwell North America, Inc. All Rights Reserved.

Where does evil come from? If there is a sovereign creator God, as Christian faith holds, is this God ultimately responsible for evil? Does God's sovereignty mean that God causes each instance of sin and suffering? How do Satan, his demons and hell fit into God's providential oversight of all creation and history? How does God interact with human intention and action? If people act freely, does God know in particular every human decision before the choice is made? In this important book Gregory A. Boyd mounts a thorough response to these ages-old questions, which remain both crucial and contentious, both practical and complex. In this work Boyd defends his scripturally grounded trinitarian warfare theodicy (presented in God at War) with rigorous philosophical reflection and insights from human experience and scientific discovery. Critiquing the classical Calvinist solution to the problem of evil, he advocates an alternative understanding of the sovereignty of the trinitarian God and of the reality of Satan that sheds light on our fallen human condition. While all may not agree with Boyd's conclusions, Satan and the Problem of Evil promises to advance the church's discussion of these critical issues.

The scientific achievements of the modern world failed to impress the leading writers of this century, leaving them instead profoundly disturbed by a sense of lost values and of the insignificance of the individual in a universe seemingly indifferent to human concerns. In The Search for Selfhood in Modern Literature Roston explores the strategies adopted by such mid-century authors as Greene, Salinger, Osborne, Baldwin and others in their attempt to cope with the spiritual vacuity - strategies including the emergence of the anti-hero and of literary existentialism - and offer in the course of the investigation fascinatingly new insights into their work.

Examines how both artist and writer in the Victorian era responded to the shared challenges, assumptions, and dilemmas of their time, often unaware that the same problems were being confronted in the kindred media. The placing of such writers as Dickens, G.Eliot, Hopkins, and Henry James within the context of Victorian painting, architecture, and interior design offers fresh insights into their works, as well as reassessments of such themes as the mid-century representation of the Fallen Woman or the impact of commodity culture upon contemporary aesthetic standards.