By Graham Ward

This paintings by way of Graham Ward, essentially the most visionary theologians of his new release, includes 9 interrelated reports of representations of Christ. Drawn from assets as various because the New testomony and twentieth-century continental philosophy, Ward develops his personal unique incarnational theology. From his exploration of up to date different types comparable to the physique, gender, hope, politics and the chic, a Christology emerges that's either rooted in Scriptural exegesis and anxious with today’s cultural concerns; and a imaginative and prescient looks of the probabilities for residing oriented in the direction of the nice, the real, the attractive and the simply.

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Extra info for Christ and Culture (Challenges in Contemporary Theology)

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Catholic University of America Press, 2001), pp. 94–172, gives a detailed account of the language of power as it arose from expositions of Wisdom literature and Scriptural texts such as 1 Cor. 35 in early Christian thinkers up to Gregory of Nyssa. ‘Power theology’ was concerned with the generation of the Son in Trinitarian theology; I am extending ‘power theology’ in terms of soteriology. 63 ‘Divine Transcendence and Human Transformation: Gregory of Nyssa’s Antiappollinarian Christology’ in Modern Theology 18 (4), October (2002), pp.

The opening words of Mark’s Gospel are outside time, their perspective is omniscient and so able to relate pasts to presents, types to their final fulfilment. Hence there is no main verb in that opening sentence – as the RSV translation makes plain. In the beginning there is representation and without representation nothing can be said to have begun. The ‘beginning’ appeals to all that has come before it, which it re-presents as it also moves forward with the temporal flow of continuation. 15 Thus there 15 There is a difference between gospel as ‘the good news’ and Gospel as a technical term for the verbal transmission of that ‘good news’.

71 If all things exist in Christ, then the cultural is not something entirely separate from him; the cultural is that through which God’s redemptive grace operates. Christ, we could say, is the origin and consummation of culture, in the same way as he is both the prototype and the fulfilment of all that is properly human. Where can we begin to contemplate the mystery of this relationship? ’72 All the essays in this collection reflect this concern with being ‘made in the image of ’; if we make enquiry into what a culture is we find that it is a system of symbols and practices involving symbols, a constellation of interrelated meanings that can only be meaningful – and be communicated and taught as meaningful – because they have material form.

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