Discipleship is embodied. Formation in the Christian life is not an otherworldly exercise but one that plays out in this world, interwoven with everyday sensory experience in ordinary life. The Aesthetics of Discipleship explores this dynamic through Kierkegaard's framing of "aesthetic existence"--the sensory experience of being "in the moment"--further developed by Bonhoeffer, as operating within a realm of freedom, encompassing not only art but play, friendship, and cultural formation. In addition to Kierkegaard and Bonhoeffer, the work of Iain McGilchrist, Graham Ward, and Nicholas Wolterstorff is employed to offer a fresh perspective on discipleship, "from below": Everyday sensory experiences are integral not only to being human but to the practice of discipleship, such that discipleship integrates aesthetic, ethical, and religious existence. Aesthetic existence unhinged from a life of faith or fueled by distorted Christendom creates and sustains aestheticized pseudorealities centered on the self. Mature aesthetic existence, however, anchored in love for God, plays a fundamental role in the Christian life, both as the incarnational celebration of being fully human, and also through the preconscious formation of imaginaries by which we live.

Discipleship is embodied. Formation in the Christian life is not an otherworldly exercise but one that plays out in this world, interwoven with everyday sensory experience in ordinary life. The Aesthetics of Discipleship explores this dynamic through Kierkegaard’s framing of “aesthetic existence”—the sensory experience of being “in the moment”—further developed by Bonhoeffer, as operating within a realm of freedom, encompassing not only art but play, friendship, and cultural formation. In addition to Kierkegaard and Bonhoeffer, the work of Iain McGilchrist, Graham Ward, and Nicholas Wolterstorff is employed to offer a fresh perspective on discipleship, “from below”: Everyday sensory experiences are integral not only to being human but to the practice of discipleship, such that discipleship integrates aesthetic, ethical, and religious existence. Aesthetic existence unhinged from a life of faith or fueled by distorted Christendom creates and sustains aestheticized pseudorealities centered on the self. Mature aesthetic existence, however, anchored in love for God, plays a fundamental role in the Christian life, both as the incarnational celebration of being fully human, and also through the preconscious formation of imaginaries by which we live.

Vatican II’s famous declaration that "the church on earth is by its very nature missionary” has often been taken out of context and used to support all manner of church initiatives. But, the conclusion of the statement—"since . . . it has its origin in the mission of the Son and the Holy Spirit"—is of monumental importance. In The Way of Discipleship, theologian Anthony Gittins describes the eternal mission of the Trinity, historically brought "down to earth" in the ministry of Jesus, and then continued to the ends of the earth by those called and sent as disciples throughout future generations. Gittins explains that Christian discipleship must be the living out of Jesus' own example in many different times and places. He encourages people of all ages to follow the invitation of Jesus to be missionary disciples. The Way of Discipleship explores several New Testament examples of Jesus' call and commissioning, distills the principles involved, and then recontextualizes the stories so that they pose a direct challenge to disciples today. In this way, Gittins builds up a picture both of "the Way" of Jesus himself, and of the way in which today's disciples can loyally follow his call to mission.

This Christian-based introduction to philosophy textbook is all the more appealing to its student audience for including humor and popular culture illustrations to teach important concepts.

This book explores the historical and contemporary relationship between the arts and Christianity.

We grow in Christ as we seek him together. Jesus' own pattern of disciple-making was to be intimately involved with others. This expanded 25-session workbook by Greg Ogden, perfect for small groups or individuals, helps us influence others as Jesus did—by investing in a few. Working through it will deepen your knowledge of essential Christian teaching and strengthen your faith.

"Every believer in Jesus Christ deserves the opportunity of personal nurture and development." says LeRoy Eims. But all too often the opportunity isn't there. We neglect the young Christian in our whirl of programs, church services, and fellowship groups. And we neglect to raise up workers and leaders who can disciple young believers into mature and fruitful Christians. In simple, practical, and biblical terms, LeRoy Eims revives the lost art of disciple making. He explains: - How the early church discipled new Christians - How to meet the basic needs of a growing Christian - How to spot and train potential workers - How to develop mature, godly leaders "True growth takes time and tears and love and patience," Eims states. There is no instant maturity. This book examines the growth process in the life of a Christian and considers what nurture and guidance it takes to develop spiritually qualified workers in the church.

"If discipleship is a journey, this book belongs in the rucksack. . . Like the scriptures on which it is based, it deserves repeated reading." Stephen Cherry, Dean of Kings College, Cambridge This fresh and inspiring look at the meaning of discipleship covers the essentials of the christian life, including: faith, hope and love; forgiveness; holiness; social action; life in the Spirit. Written for the general reader by one of our greatest living theologians, this book will help you to see more clearly, love more dearly and follow more nearly the way of Jesus Christ.

A Redemptive Theology of Art develops a biblical, systematic, and practical theology of aesthetics. It begins with the roots and ontology of aesthetics (vs. "art") and the architecture and narrative of affection and passion, their woes and their glory. Those who would search the Bible find little support for "art" as commonly conceived in the West. The language of aesthetics, applied to the maker’s intentions, the qualities of the work, and the responses of the audience, better addresses the questions of beauty, and better suits the discussion of human actions, beliefs, and culture than the language of art does. The Bible yields more consistent and helpful answers to questions about the broader category of aesthetics than it does to questions about art; leading in turn to better questions and a more practical and theological appreciation of human affections, beauty, and delight, and the many paths by which people, including Christians, pursue them. Using the categories and definitions from Scripture, Covington gives hope and help not only for those who labor in the arts, but for everyone who cares about the passions that motivate us. We were made for God's delight, and, though sin and bondage plague our passions, God can shape our fun, feelings, desires, affections and aversions. Feelings are neither objective nor subjective; they are redeemable. Borrowing key ideas from other Christian writers on the arts or aesthetics, Covington explores the connection between orthodox Protestant theology and a responsible, respectful treatment of arts, artists, and all aesthetic fields of human work and speech.

The story of the spiritual journey of the famous Tibetan yogi Milarepa is often told, but less well known are the stories of his encounters with those he met and taught after his own Enlightenment, eleven of which are the catalyst for volumes 18 and 19 of The Complete Works. The first three were originally published in The Yogi's Joy, and to these have been added an intriguing fourth, 'The Shepherd's Search for Mind'.The other seven stories form a sequence tracing the relationship between Milarepa and his disciple Rechungpa, from their first meeting to their final parting, when Rechungpa is exhorted to go and teach the Dharma himself. As portrayed in The Hundred Thousand Songs of Milarepa, Rechungpa is a promising disciple, but he has a lot to learn, being sometimes proud, distracted, anxious, desirous of comfort and praise, over-attached to book learning, stubborn, sulky and liable to go to extremes. In other words, he is very human, and surely recognizable to anyone who has embarked on the spiritual path. He all too often takes his teacher's advice the wrong way, or simply ignores it, and it takes all of Milarepa's skill, compassion and patience to keep their relationship intact and help his unruly disciple to stay on the path to Enlightenment.Sangharakshita's commentary is based on seminars he gave to young, enthusiastic but as yet inexperienced Dharma followers, and while much can be gleaned from it about the path of practice of the Kagyu tradition, the main emphasis is simply on how to overcome the difficulties that are sure to befall the would-be spiritual practitioner, how to learn what we need to learn - in short, the art of discipleship.