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What if the way the book of Esther has been taught to us in church and retold to us in films, cartoons, and romance novels has missed the original point of the story? Far from being models of piety and devotion, Esther and Mordecai seem indifferent to the faith of their ancestors. How then did this story become part of the Bible and gain the broad acceptance that it has? If the church should not neglect the story, how should it be read? Esther and Her Elusive God calls Christians to avoid the common attempts to make Esther more palatable and theological, and to reclaim this secular story as Scripture. Readers will be encouraged to see in Esther a profound message of God's grace and faithfulness to his wayward people.
Truth is in trouble. In response, this book presents a new conception of truth. It recognizes that prominent philosophers have questioned whether the idea of truth is important. Some have asked why we even need it. Their questions reinforce broader trends in Western society, where many wonder whether or why we should pursue truth. Indeed, some pundits say we have become a "post-truth" society. Yet there are good reasons not to embrace the cultural Zeitgeist or go with the philosophical flow, reasons to regard truth as a substantive and socially significant idea. This book explains why. First it argues that propositional truth is only one kind of truth—an important kind, but not all importa...
This book examines fundamental questions about funding for the arts: why should governments provide funding for the arts? What do the arts contribute to daily life? Do artists and their publics have a social responsibility? Challenging questionable assumptions about the state, the arts and a democratic society, Lambert Zuidervaart presents a vigorous case for government funding, based on crucial contributions the arts make to civil society. He argues that the arts contribute to democratic communication and a social economy, fostering the critical and creative dialogue that a democratic society needs. Informed by the author's experience leading a non-profit arts organisation as well as his expertise in the arts, humanities and social sciences, this book proposes an entirely new conception of the public role of art with wide-ranging implications for education, politics and cultural policy.
The work of the influential Jesuit theologian Hans Urs von Balthasar (1905–1988) has become a common point of reference in discussing the relationship of theology and the arts. However, the full significance of his theological aesthetics for both the emerging field of theology and the arts, as well as for interdisciplinary conversation with contemporary art and theory, remains to be unfolded. This book explores the ways in which Balthasar's theo-aesthetics, when taken together with his theological dramatics and theo-logic, yield a theologically informed phenomenology of the work of art with rich implications for contemporary theologies of art. By investigating the nature and disclosure of beauty and being through art, Balthasar's theological re-reading of Heidegger, his theo-dramatic relation of all forms to Christ, and his phenomenology of truth, Balthasar's philosophical and theological insights into the nature of art are presented as a resource for a constructive theology of art which "springs" from the depths of his theological aesthetics.
The "conservative radicalismrepresented in these contributions will resonate with a broad audience of scholars and citizens who seek to put faith into action.
Johann "Hans" Ediger (1775-1835) was born in Montaurweide, West Prussia which is now part of Poland. The Ediger family was Mennonite and eventually moved into southwestern Russia to avoid religious persecution. Johann married twice and was the father of twelve children. Johann died in Schardau, Russia but several of his children immigrated to the United States and settled in Mennonite communities in Kansas. Their many descendants live in Kansas and throughout the United States
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