Theological Stains

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.

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.

"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"--

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.

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.

This ambitious book examines Saint Oscar Romero's words to understand how his thoughts fit into the broader context of Catholic theology. On March 24, 1980, Archbishop Óscar Romero was assassinated as he celebrated mass in El Salvador. He was canonized as a saint by Pope Francis on October 14, 2018. Edgardo Colón-Emeric explores the life and thought of Romero and his theological vision, which finds its focus in the mystery of the transfiguration. Romero is now understood to be one of the founders of liberation theology, which interprets scripture through the plight of the poor. His theological vision is most succinctly expressed by his saying, “Gloria Dei, vivens pauper”: “The glory of God is the poor who lives.” God’s glory was first revealed through Christ to a landless tenant farmer, a market woman, and an unemployed laborer, and they received the power to shine from the church to the world. Colón-Emeric’s study is an exercise in what Latino/a theologians call ressourcement from the margins, or a return to theological foundations. One of the first Latin American Church Fathers, Romero’s theological vision is a sign of the emergence of Christianity in the Global South from “reflection” Church to “source” Church. The hope for this study is that scholars in the fields of theology, religious studies, and Latin American studies will be captivated by the doctrine of this humble pastor and inspired to think more clearly and act more decisively in solidarity with the poor.

The Anointing of the Sick is possibly the most underappreciated and understudied sacrament. In To Die Is Gain, Roger Nutt seeks to bring greater attention to and appreciation for the Anointing of the Sick. Beginning with an examination of cultural perceptions of dying, death, and burial, To Die Is Gain exposes the ways in which contemporary atheism and physicalism mark a clear divergence from ancient attitudes. In contrast to contemporary hopelessness, the Anointing of the Sick is a powerful counter witness that highlights the great dignity of the human person and the depth of Christian hope. Unlike the cures to particular ailments facilitated by modern medical science, in Holy Anointing Jesus gives his dying followers the healing graces that they need to pass from this life to the next in loving union with Him. As Nutt exposes the biblical and traditional foundations of this sacrament, he corrects common misconceptions and malpractice of this sacrament, especially the ways in which Vatican II is often misleadingly enlisted to support a broadening of the sacrament from end-of-life situations to non-life threatening illnesses. Finally, Nutt carefully describes the graces and effects of the Anointing of the Sick and richly expounds the theological depth of the rite of the Anointing of the Sick. The result is that readers can confidently say with St. Paul that “To die is gain” (Philippians 1:21).

This book is the second of two volumes collecting together Michael C. Rea's most substantial work in analytic theology. The first volume focuses on the nature of God and our ability to talk and discover truths about God, whereas this volume contains essays focused more on questions about humanity, the human condition, and how human beings relate to God. Part one of Volume II considers on the doctrines of the incarnation, original sin, and atonement. Part two examines the problem of evil, the problem of divine hiddenness, and a theological problem that arises in connection with the idea God not only tolerates but validates a response of angry protest in the face of these problems.