Burns' collection—taken from a conference at a 2004 regional SBL meeting—explores the ways in which these portraits of Jesus continue to fulfill the familiar observation that people tend to depict Jesus in their own image

Salvador Dalø: nuclear mystical Christ -- Fray Angelico Chavez: the Virgin of Port Lligat -- José Clemente Orozco: Christ Prometheus -- Miguel de Unamuno: the Quixotic Christ -- Jorge Luis Borges: the fictional Christ -- Richard Rojas: the invisible Christ -- Liberation theology: Christ the liberator -- The Mestizo Christ -- Coda.

The past decades have seen a growing “philosophical” interest in a number of authors, but strangely enough Saramago’s oeuvre has been left somewhat aside. This volume aims at filling this gap by providing a diverse range of philosophical perspectives and expositions on Saramago’s work. The chapters explore some possible issues arising from his works: from his use of Plato’s allegory of the cave to his re-readings of Biblical stories; from his critique and “reinvention” of philosophy of history to his allegorical exploration of alternative histories; from his humorous approach to our being-towards-death to the revolutionary political charge of his fiction. The essays here confront Saramago’s fiction with concepts, theories, and suggestions belonging to various philosophical traditions and philosophers including Plato, Pascal, Kierkegaard, Freud, Benjamin, Heidegger, Lacan, Foucault, Patočka, Derrida, Agamben, and Žižek.

For almost two millennia, Jesus' story has been retold in various forms and fashions but in the last century a new way of reimagining the man from Galilee has sprung up in the form of novels about the life ofJesus. While the novels themselves are asvaried as their authors, this work aims to introduce readers to some common literary strategies and theological agendas found in this phenomenon by surveying a few prominent examples. It also explores the question of what happens when we examine theintertextual play between these reimaginings and their Gospel progenitors as we allow these contemporary novels to pose new questions to their ancient counterparts. An intriguing hermeneutical circle ensues as we embark on our quest for the fictional Jesus and accompany his incarnations as they lead us back to re-examine the canonical portraits of Jesus anew.

In their study of religion and film, religious film analysts have tended to privilege religion. Uniquely, this study treats the two disciplines as genuine equals, by regarding both liturgy and film as representational media. Steve Nolan argues that, in each case, subjects identify with a represented ‘other' which joins them into a narrative where they become participants in an ideological ‘reality'. Finding many current approaches to religious film analysis lacking, Film, Lacan and the Subject of Religion explores the film theory other writers ignore, particularly that mix of psychoanalysis, Marxism and semiotics - often termed Screen theory - that attempts to understand how cinematic representation shapes spectator identity. Using translations and commentary on Lacan not originally available to Screen theorists, Nolan returns to Lacan's contribution to psychoanalytic film theory and offers a sustained application to religious practice, examining several ‘priest films' and real-life case study to expose the way liturgical representation shapes religious identity. Film, Lacan and the Subject of Religion proposes an interpretive strategy by which religious film analysts can develop the kind of analysis that engages with and critiques both cultural and religious practice.

Since the earliest days of the movies more than a century ago, moviemakers have been intrigued by "the greatest story ever told." They have tried, with varying degrees of success, to capture the life of Jesus on film. In Jesus at the Movies Barnes Tatum has created a fascinating and exhaustively-researched viewer's guide to the movies about Jesus. Tatum guides the reader film-by-film from Sidney Olcott's silent classic "From the Manger to the Cross" through Denis Arcand's award-winning "Jesus of Montreal" to the future of Jesus movies. With his experience as author, biblical scholar, and teacher on religion and film, he presents this unique look at Jesus films in all dimensions: as cinematic art, as literature, as biblical history and as theology.

"Explores the defining relationship of literature to censorship across the globe"--

Why have so many prominent literary authors-from Philip Pullman and José Saramago to Michèle Roberts and Colm Tóibím-recently rewritten the canonical story of Jesus Christ? What does that say about our supposedly secular age? In this insightful study, Magdalena Maczynska defines and examines the genre of scriptural metafiction: novels that not only transform religious texts but also draw attention to these transformations. In addition to providing rich examples and close readings, Maczynska positions literary studies within interdisciplinary debates about religion and secularity. Her book demonstrates a surprising turn of events: even as contemporary novelists deconstruct the traditional categories of “secular” and “sacred” writing, they open up new spaces for scripture in contemporary culture.

At the heart of Christian theology lies a paradox unintelligible to other religions and to secular humanism: that in the person of Jesus, God became man, and suffered on the cross to effect humanity's salvation. In his dual nature as mortal and divinity, and unlike the impassable God of other monotheisms, Christ thus became accessible to artistic representation. Hence the figure of Jesus has haunted and compelled the imagination of artists and writers for 2,000 years. This was never more so than in the 20th Century, in a supposedly secular age, when the Jesus of popular fiction and film became perhaps more familiar than the Christ of the New Testament. In Re-Writing Jesus: Christ in 20th Century Fiction and Film Graham Holderness explores how writers and film-makers have sought to recreate Christ in work as diverse as Anthony Burgess's Man of Nazareth and Jim Crace's Quarantine, to Martin Scorsese's The Last Temptation of Christ and Mel Gibson's Passion of the Christ. These works are set within a longer and broader history of 'Jesus novels' and 'Jesus films', a lineage traced back to Ernest Renan and George Moore, and explored both for their reflections of contemporary Christological debates, and their positive contributions to Christian theology. In its final chapter, the book draws on the insights of this tradition of Christological representation to creatively construct a new life of Christ, an original work of theological fiction that both subsumes the history of the form, and offers a startlingly new perspective on the biography of Christ.

In How on Earth Did Jesus Become a God? Larry Hurtado investigates the intense devotion to Jesus that emerged with surprising speed after his death. Reverence for Jesus among early Christians, notes Hurtado, included both grand claims about Jesus' significance and a pattern of devotional practices that effectively treated him as divine. This book argues that whatever one makes of such devotion to Jesus, the subject deserves serious historical consideration. Mapping out the lively current debate about Jesus, Hurtado explains the evidence, issues, and positions at stake. He goes on to treat the opposition to -- and severe costs of -- worshiping Jesus, the history of incorporating such devotion into Jewish monotheism, and the role of religious experience in Christianity's development out of Judaism. The follow-up to Hurtado's award-winningLord Jesus Christ (2003), this book provides compelling answers to queries about the development of the church's belief in the divinity of Jesus.