"This book will examine the iconography of death as well as that of its symbolic opposite - resurrection and rebirth."--Introduction.

This engaging book demonstrates Shakespeare’s abiding interest in the theatrical potential of the Christian resurrection from the dead. In fourteen of Shakespeare’s plays, characters who have been lost, sometimes for years, suddenly reappear seemingly returning from the dead. In the classical recognition scene, such moments are explained away in naturalistic terms a character was lost at sea but survived, or abducted and escaped, and so on. Shakespeare never invalidates such explanations, but in his manipulation of classical conventions he parallels these moments with the recognition scenes from the Gospels, repeatedly evoking Christ’s resurrection from the dead. Benson’s close study of the plays, as well as the classical and biblical sources that Shakespeare fuses into his recognition scenes, clearly elucidates the ways in which the playwright explored his abiding interest in the human desire to transcend death and to live reunited and reconciled with others. In his manipulation of resurrection imagery, Shakespeare conflates the material with the immaterial, the religious with the secular, and the sacred with the profane.

"Anastasis: The Harrowing of Hades" is a full-colour Christian graphic novel that explores what happened to the Old Testament souls in Hades, the emotional build-up to the fateful crucifixion and the consequences of Christ's enigmatic descent into hell. You will find this book packed with Biblical references, writings from the Church fathers (Saint Cyril of Alexandria, Saint John Chrysostom, Saint Ephrem the Syrian and more!), and gripping storytelling. The hand-drawn illustrations pay homage to ancient Christian iconography and the resurrection narrative. While we don't have conclusive details on what took place over the three days Christ spent in the tomb, this book is an honest take on what might've transpired and what it means for us today.

Every year at Holy Week and Easter the Church, and indeed much of the secular world, focuses on the Passion, Death and Resurrection of Jesus. As Christianity came to dominance as the major religious faith in West, the descriptions of the Passion, Crucifixion, Death and Resurrection became the central and distinguishing images of the faith. Inevitably the Church made use of art to bring these dramatic scenes to the faithful - so welcome to many of course who could not read. The Passion is given its first really detailed depiction in Giotto's frescoes, completed about 1305, for the Arena Chapel in Padua, and also in Duccio di Buoninsegna's majestic altar piece paintings, the Maestà in Seina, installed in 1311. However, the death of Christ cannot be considered as something apart from his Resurrection. The victory of Christ is seen most lucidly in the new dawn light of Easter morning.The art represented in this book covers every aspect of the Passion cycle such as the Arrest, the Betrayal by Judas, the Appearance before the High Priest, the Flagellation, the Crowning with Thorns, the Ecce Homo presentation, the Carrying of the Cross, the Crucifixion and the Deposition, Lamentation and Entombment. Everything then moves into depictions of the glory of the Resurrection. The art represented is a very eclectic selection, ranging from the work of Matthias Grünewald and Michelangelo to Pablo Picasso, Jackson Pollock and Salvador Dali.

In this deeply personal and daring meditation, eminent theologian Jürgen Moltmann challenges many closely held beliefs about the experience of dying, the nature of death, and the hope of eternal life. Moving deftly between biblical, theological, and existential domains, Moltmann argues that while we know intimately the experience of dying--both our loved ones' dying and, ultimately, our own--death itself is a mystery. Are those who have died in fact dead? If the dead are alive, how or in what respect? When the dead awaken to eternal life, who wakes? Moltmann's interrogations yield surprising and beautiful fruits. The living soul that awakens to eternal life is not a ghost in a machine, but the Lebensgestalt, the shape and story of a life, its human and divine contexts, its whole. Drawing on themes from his oeuvre's entire arc, Resurrected to Eternal Life testifies to the inner unity of Moltmann's theology: the cross, the Spirit, the kingdom, the end, and the hope that makes the end present here and now. Seasoned readers of Moltmann will find in these pages a capstone of a lifetime of theological exploration, while those new to his complex thought will find a concise and elegant entry point into his voluminous work.

Ten-year-old Jake struggles to understand his grandma's death. But as he spends two weeks at his grandfather's home, he is able to receive answers to his questions about Heaven. As Jake and Grandpa fish, watch the stars, and take long walks, Grandpa shares what the Bible says about the reality and beauty of Heaven. As Jake learns the truth about Heaven, he begins to better understand and accept his grandmother's death. As readers uncover the truths in the dialogue between Grandpa and Jake, they will better appreciate the home that awaits all who place their faith in Christ.

Reveals the radical ancient practice of living resurrection, in which initiates ritually died and were reborn into a state of higher consciousness • Explores living resurrection initiation practices from world cultures, including Egyptian, Greek, Gnostic, Chinese, Celtic, and Native American traditions • Describes the secret chambers and temples where Mystery Schools practiced “raising the dead” • Shows why this practice was branded a heresy and suppressed by the Church More than two thousand years before the resurrection of Jesus, initiates from spiritual traditions around the world were already practicing a secret mystical ritual in which they metaphorically died and were reborn into a higher spiritual state. During this living resurrection, they experienced a transformative spiritual awakening that revealed the nature of reality and the purpose of the soul, described as “rising from the dead.” Exploring the practice of living resurrection in ancient Egyptian, Phoenician, Greek, Persian, Indian, Japanese, Chinese, Celtic, and Native American traditions, Freddy Silva explains how resurrection was never meant for the dead, but for the living--a fact supported by the suppressed Gnostic Gospel of Philip: “Those who say they will die first and then rise are in error. If they do not first receive the resurrection while they live, when they die they will receive nothing.” He reveals how these practices were not only common in the ancient world but also shared similar facets in each tradition: initiates were led through a series of challenging ordeals, retreated for a three-day period into a cave or restricted room, often called a “bridal chamber,” and while out-of-body, became fully conscious of travels in the Otherworld. Upon returning to the body, they were led by priests or priestesses to witness the rising of Sirius or the Equinox sunrise. Silva describes some of the secret chambers around the world where the ritual was performed, including the so-called tomb of Thutmosis III in Egypt, which featured an empty sarcophagus and detailed instructions for the living on how to enter the Otherworld and return alive. He reveals why esoteric and Gnostic sects claimed that the literal resurrection of Jesus promoted by the Church was a fraud and how the Church branded all living resurrection practices as a heresy, relentlessly persecuting the Gnostics to suppress knowledge of this self-empowering experience. He shows how the Knights Templar revived these concepts and how they survive to this day within Freemasonry. Exploring the hidden art of living resurrection, Silva shows how this personal experience of the Divine opened the path to self-empowerment and higher consciousness, leading initiates such as Plato to describe it as the pinnacle of spiritual development.

Christians can have confidence that because death is not the end, preparing to die helps us truly live. In this well-researched and pastorally sensitive book, Rob Moll explores the Christian practice of dying well, giving guidance for those who care for the dying as well as for those who grieve. This expanded edition includes a new afterword by Rob's wife Clarissa reflecting on his life, death, and legacy.

A renowned ethicist who himself faced death during a recent life-threatening illness, Allen Verhey in The Christian Art of Dying sets out to recapture dying from the medical world. Seeking to counter the medicalization of death that is so prevalent today, Verhey revisits the fifteenth-century Ars Moriendi, an illustrated spiritual self-help manual on "the art of dying." Finding much wisdom in that little book but rejecting its Stoic and Platonic worldview, Verhey uncovers in the biblical accounts of Jesus' death a truly helpful paradigm for dying well and faithfully.

Keren Rosa Hammerschlag's Frederic Leighton: Death, Mortality, Resurrection offers a timely reexamination of the art of the late Victorian period's most institutionally powerful artist, Frederic Lord Leighton (1830-1896). As President of the Royal Academy from 1878 to 1896, Leighton was committed to the pursuit of beauty in art through the depiction of classical subjects, executed according to an academic working-method. But as this book reveals, Leighton's art and discourse were beset by the realisation that academic art would likely die with him. Rather than achieving classical perfection, Hammerschlag argues, Leighton's figures hover in transitional states between realism and idealism, flesh and marble, life and death, as gothic distortions of the classical ideal. The author undertakes close readings of key paintings, sculptures, frescos and drawings in Leighton's oeuvre, and situates them in the context of contemporaneous debates about death and resurrection in theology, archaeology and medicine. The outcome is a pleasurably macabre counter-biography that reconfigures what it meant to be not just a late-Victorian neoclassicist and royal academician, but President of the Victorian Royal Academy.