In A Theodicy of Hell Charles Seymour tackles one of the most difficult problems facing the western theistic tradition: to show the consonance between eternal punishment and the goodness of God. Medieval theology attempted to resolve the dilemma by arguing that any sin, no matter how slight, merits unending torment. Contemporary thinkers, on the other hand, tend to eliminate the retributive element from hell entirely. Combining historical breadth with detailed argumentation, the author develops a novel understanding of hell which avoids the extremes of both its traditional and modern rivals. He then surveys the battery of objections ranged against the possibility of eternal punishment and shows how his `freedom view of hell' can withstand the attack. The work will be of particular importance for those interested in philosophy of religion and theology, including academics, students, seminarians, clergy, and anyone else with a personal desire to come to terms with this perennially challenging doctrine.

This book is a discussion of responsibility and blame focused and shaped by St. Augustine's theology of sin and grace, and the controversies that surround those topics. It critically appropriates ideas central to an influential and controversial figure and doctrine, in conversation with expert readers of Augustine, recent philosophical treatments of free will and responsibility, and a broad array of theological voices.

A crime is more or less heinous, according as we are under greater or less obligations to the contrary. This is self-evident; because it is herein that the criminalness or faultiness of any thing consists, that it is contrary to what we are obliged or bound to, or what ought to be in us. So the faultiness of one being hating another, is in proportion to his obligation to love him. The crime of one being despising and casting contempt on another, is proportionably more or less heinous, as he was under greater or less obligations to honour him. The fault of disobeying another, is greater or less, as any one is under greater or less obligations to obey him. And therefore if there be any being that we are under infinite obligations to love, and honour, and obey, the contrary towards him must be infinitely faulty. Our obligation to love, honour, and obey any being, is in proportion to his loveliness, honourableness, and authority; for that is the very meaning of the words. When we say any one is very lovely, it is the same as to say, that he is one very much to be loved. Or if we say such a one is more honourable than another, the meaning of the words is, that he is one that we are more obliged to honour. If we say any one has great authority over us, it is the same as to say, that he has great right to our subjection and obedience. But God is a being infinitely lovely, because he hath infinite excellency and beauty. To have infinite excellency and beauty, is the same thing as to have infinite loveliness. He is a being of infinite greatness, majesty, and glory; and therefore he is infinitely honourable. He is infinitely exalted above the greatest potentates of the earth, and highest angels in heaven; and therefore he is infinitely more honourable than they. His authority over us is infinite; and the ground of his right to our obedience is infinitely strong; for he is infinitely worthy to be obeyed himself, and we have an absolute, universal, and infinite dependence upon him. So that sin against God, being a violation of infinite obligations, must be a crime infinitely heinous, and so deserving of infinite punishment.- Nothing is more agreeable to the common sense of mankind, than that sins committed against any one, must be proportionably heinous to the dignity of the being offended and abused; as it is also agreeable to the word of God, I Samuel 2:25. "If one man sin against another, the judge shall judge him;" (i.e. shall judge him, and inflict a finite punishment, such as finite judges can inflict;) "but if a man sin against the Lord, who shall entreat for him?" This was the aggravation of sin that made Joseph afraid of it. Genesis 39:9. "How shall I commit this great wickedness, and sin against God?" This was the aggravation of David's sin, in comparison of which he esteemed all others as nothing, because they were infinitely exceeded by it. Psalm 51:4. "Against thee, thee only have I sinned."-The eternity of the punishment of ungodly men renders it infinite: and it renders it no more than infinite; and therefore renders no more than proportionable to the heinousness of what they are guilty of.

In Irish fiction, the most famous example of the embrace of damnation in order to gain freedom—politically, religiously, and creatively—is Joyce’s Stephen Dedalus. His “non serviam,” though, is not just the profound rebellion of one frustrated young man, but, as Brivic demonstrates in this sweeping account of twentieth-century Irish fiction, the emblematic and necessary standpoint for any artist wishing to envision something truly new. Revolutionary fervor is what allowed a country with a population lower than that of Connecticut to produce so many of the greatest writers of the twentiety century. Because Irish culture was largely dictated by the Catholic Church and its conservatism, the most ambitious Irish writers, like Joyce, Beckett, and the ten others Brivic presents here, saw the advantages of damnation and seized them, rejecting powerful norms of church, state, and culture, as well as of literary form, voice, and character, to produce some of the most radical work of the twentieth century. Brivic links the work of writers such as Flann O’Brien, Patrick McCabe, and Anne Enright to the theories of Alain Badiou. His mathematical procedure for distinguishing what is truly innovative informs the progressive political and philosophical thrust that these writers at their best carry on from Joyce and Beckett to unfold a fierce tradition that extends into the twenty-first century.

An introduction to the fictions of the Fight Club author, who is both loved and loathed Ever since his first novel, Fight Club, was made into a cult film by David Fincher, Chuck Palahniuk has been a consistent presence on the New York Times best-seller list. A target of critics but a fan favorite, Palahniuk has been loathed and loved in equal measure for his dark humor, edgy topics, and confrontational writing style. In close readings of Fight Club and the thirteen novels that this controversial author has published since, Douglas Keesey argues that Palahniuk is much more than a "shock jock" engaged in mere sensationalism. His visceral depictions of sex and violence have social, psychological, and religious significance. Keesey takes issue with reviewers who accuse Palahniuk of being an angry nihilist and a misanthrope, showing instead that he is really a romantic at heart and a believer in community. In this first comprehensive introduction to Palahniuk's fiction, Keesey reveals how this writer's outrageous narratives are actually rooted in his own personal experiences, how his seemingly unprecedented works are part of the American literary tradition of protagonists in search of an identity, and how his negative energy is really social satire directed at specific ills that he diagnoses and wishes to cure. After tracing the influence of his working-class background, his journalistic education, and his training as a "minimalist" writer, Understanding Chuck Palahniuk exposes connections between the writer's novels by grouping them thematically: the struggle for identity (Fight Club, Invisible Monsters, Survivor, Choke); the horror trilogy (Lullaby, Diary, Haunted); teen terrors (Rant, Pygmy); porn bodies and romantic myths (Snuff, Tell-All, Beautiful You); and a decidedly unorthodox revision of Dante's Divine Comedy (Damned, Doomed). Drawing on numerous author interviews and written in an engaging and accessible style, Understanding Chuck Palahniuk should appeal to scholars, students, and fans alike.

As theologians across confessional divides try to say something significant about human dignity in our contemporary society, there is fresh interest in the ancient Christian doctrine that the human being is created in the 'imago Dei'. Theology is grounding responsibility for others and for the world around us in this common vision that the human being's infinite horizon lies in a divine calling and destiny. Robinson examines the 'imago Dei' debate through three giants of twentieth century theology - Karl Barth, Hans Urs von Balthasar, and Jürgen Moltmann. This is placed against a survey of the principle developments and distinctions relating to the doctrine in the history of Christian thought, which in itself will be valuable for all students of Theology. A fresh analysis of ecumenical contributions places the development of the doctrine in the context of the ongoing process of ecumenical dialogue on the dignity of the human person, with special reference to this theme in the first encyclical of Pope Benedict XVI, Deus Caritas Est. Whilst 'imago Dei' is the focus of this book, Robinson invites the reader to see its relevance to theology as a whole on a specifically ecumenical canvas, and relates directly to more general areas of theological anthropology, grace, salvation, and the relationship between God and the world.

The church has been entrusted with God's revelation—and to steward the word of truth, we must confess the Bible's teaching with clarity and conviction. Adam Harwood's Christian Theology is both biblically faithful and historically informed, providing a fresh synthesis of the essential doctrines of the faith. Writing from a Baptist perspective, Harwood brings fresh insights that many systematic theologies lack. With readable prose, suggestions for further study, and discussion questions, Christian Theology will equip students and pastors to clarify and articulate what they believe and why.