By mining the rich tradition of virtue ethics, Christopher Vogt uses the virtues of patience, compassion, and hope as a framework for specifying the shape of a good death, and for naming the practices Christians should develop to live well and die well. Bringing together historical, biblical, and contemporary sources in Christian ethics, Vogt provides a long-overdue theological analysis of the ars moriendi or "art of dying" literature of four centuries ago. Through a careful analysis of Luke's passion narrative, Vogt uses Jesus as the primary model for being patient in the face of death and for dying well.

Drawing on philosophical reflection, spiritual and religious values, and somatic practice, Spirit and the Obligation of Social Flesh offers guidance for moving amidst the affective dynamics that animate the streets of the global cities now amassing around our planet. Here theology turns decidedly secular. In urban medieval Europe, seculars were uncloistered persons who carried their spiritual passion and sense of an obligated life into daily circumambulations of the city. Seculars lived in the city, on behalf of the city, but—contrary to the new profit economy of the time—with a different locus of value: spirit. Betcher argues that for seculars today the possibility of a devoted life, the practice of felicity in history, still remains. Spirit now names a necessary “prosthesis,” a locus for regenerating the elemental commons of our interdependent flesh and thus for cultivating spacious and fearless empathy, forbearance, and generosity. Her theological poetics, though based in Christianity, are frequently in conversation with other religions resident in our postcolonial cities.

In Secrets: Humanism, Mysticism, and Evangelism in Erasmus of Rotterdam, Bishop Guillaume Briçonnet, and Marguerite de Navarre, Jacob Vance argues that Erasmus and French Evangelical humanists made secrecy central to their literary thought. They revived Scriptural, medieval, and early Renaissance notions of secrecy in their spiritual and profane literature to advance the reforms in church and society that they advocated. Erasmus, Briçonnet, and Marguerite expanded on Origenian, Augustinian, and pseudo-Dionysian concepts of divine mystery, as being secret, throughout their works. By developing the idea that the divine remains both transcendent and immanent in the world of creation, these humanists explored, through literature, how the human spirit can either accede, or fail to accede, to the secrets of Christian wisdom.

Reminding us that the Genevan Reformation does not begin and end with John Calvin, this book provides an introduction to Guillaume Farel (1489-1565), one of several important yet often overlooked French-speaking reformers. Born in 1489 near Gap, France, Farel was an important first-generation French-speaking Reformer and one of the most influential early leaders of the Reform movement in what is now French-speaking Switzerland. Educated in Paris, he slowly began to question Catholic orthodoxy, and by the 1520s was an active protestant preacher, resulting in his exile to Switzerland. Part of Farel's aggressive work in this area brought him to Geneva several times, where in 1535 and 1536 he secured votes in favour of the Reform, and later in 1536 persuaded the young theologian John Calvin to stay. Farel also penned Geneva's confession of faith of that year and their ecclesiastical articles of the next. As such, this volume underlines the fact that Calvin entered the reform movement in Geneva in a situation in which Farel had been already deeply involved. To better understand that situation, the book is divided into two parts. The first provides a rich and nuanced portrait of Farel's early thought by way of interpretive essays; the second section offers translations of a number of Farel's key texts. These translations include some of the first widely-accessible full-length translations of Farel's work into English. Offering both a scholarly overview of Farel and his life, and access to his own words, this book demonstrates the importance of Farel to the Reformation. It will be welcomed not only by scholars engaged in research on French reform movements, but also by students of history, theology, or literature wishing to read some of the earliest theological texts originally written in French.

Barbara Kaminska’s Pieter Bruegel the Elder: Religious Art for the Urban Community is the first book-length study focusing on religious paintings by one of the most captivating Netherlandish artists, long celebrated for his secular imagery. In a period marked by a profound religious, economic, and cultural transformation, Bruegel offered his sophisticated urban audience complex biblical images that required an engaged, active viewing, not only sparking learned dinner conversations, but facilitating the negotiation of values seen as critical to maintaining a harmonious society. By considering the novelty of Bruegel’s panels used in convivia alongside his small, intimate grisaille compositions, this study ultimately shows that Bruegel renewed the idiom of religious painting, successfully preserving its ritualistic and meditative functions.

Early modern private prayer is skilled at narrative and drama. In manuals and sermons on how to pray, collections of model prayers, scholarly treatises about biblical petitions, and popular tracts about life crises prompting calls to God, prayer is valued as a powerful agent of change. Model prayers create stories about people in distinct ranks and jobs, with concrete details about real-life situations. These characters may act in play-lets, or appear in the middle of difficulties, or voice a suite of petitions from all sides of a conflict. Thinking of early modern private prayers as dramatic dialogues rather than lyric monologues raises the question of whether play-going and praying were mutually reinforcing practices. Could dramatists deploying prayer on stage rely on having audience members who were already expert at making up roles for themselves in prayer, and who expected their petitions to have the power to intervene in major events? Does prayer's focus on cause and effect structure the historiography of Shakespeare's Henry VI, Richard III, Richard II, Henry V, and Henry VIII?

Erasmus' Familiar Colloquies grew from a small collection of phrases, sentences, and snatches of dialogue written in Paris about 1497 to help his private pupils improve their command of Latin. Twenty years later the material was published by Johann Froben (Basel 1518). It was an immediate success and was reprinted thirty times in the next four years. For the edition of March 1522 Erasmus began to add fully developed dialogues, and a book designed to improve boys' use of Latin (and their deportment) soon became a work of literature for adults, although it retained traces of its original purposes. The final Froben edition (March, 1533) had about sixty parts, most of them dialogues. It was in the last form that the Colloquies were read and enjoyed for four centuries. For modern readers it is one of the best introductions to European society of the Renaissance and Reformation periods, with lively descriptions of daily life and provocative discussions of political, religious, social, and literary topics, presented with Erasmus's characteristic wit and verve. Each colloquy has its own introduction and full explanatory, historical, and biographical notes. Volumes 39 and 40 of the Collected Works of Erasmus series – Two-volume set.