Von Balthasar shows the tension between the necessary unity in Christianity and the diversity that should and must exist. Today when most people talk about pluralism and really mean dissent and rebellion, von Balthasar shows how genuine variety is both possible and desirable within Catholic unity.

Von Balthasar shows the tension between the necessary unity in Christianity and the diversity that should and must exist. Today when most people talk about pluralism and really mean dissent and rebellion, von Balthasar shows how genuine variety is both possible and desirable within Catholic unity.

The truth of God is rich and multifaceted. Though a coherent body of revelation, the Bible comes to us through a variety of inspired authors, metaphors, and themes highlighting the many facets of God's truth. Likewise, our theological formulations capture manifold emphases--distinct perspectives on the whole--which collectively enable us to gain a fuller understanding of the truth. Poythress explains, We use what we have gained from one perspective to reinforce, correct, or improve what we understood through another. I call this procedure 'symphonic theology' because it is analogous to a blending of various musical instruments to express the variation of a symphonic theme. The implications of this approach are far-reaching for theology and praxis.

This is a compelling and inspiring look at spiritual beliefs that influenced some of the world's greatest composers, now revised and expanded with eight additional composers.

Throughout the book Thiselton shows how perspectives that arise from hermeneutics shed fresh light on theological method, reshape horizons of understanding, and reveal the relevance of doctrine for formation and for life. --

Identifying an important subgenre of horror literature, this book argues that Catholic horror fiction works distinctively to inspire the philosophical, theological, and spiritual imaginations of readers from all backgrounds and faith traditions. Hurley analyzes four novels that are foundational to the genre of Catholic horror: J.K. Huysmans’s Là-Bas (1891), Robert Hugh Benson’s The Light Invisible (1903) and A Mirror of Shalott (1907), and William Peter Blatty’s The Exorcist (1971). Putting these texts in conversation with the classical liberal arts, the book shows how Catholic horror fiction coheres in a commitment to dialectical thinking that aims both to resolve—and to accommodate—contrasting world views. Given its use of this methodology, Catholic horror literature is uniquely positioned to draw readers into a contemplative mindset. In presenting ghost stories, tales of possession, and narratives about evil, Catholic horror invites audiences to confront and reflect on profound existential questions—questions about the line between life and death, the nature of being, and the meaning of reality.

These eleven essays lay a foundation for a proper understanding of Shostakovich's musical language and provide new insights into issues surrounding his composition.

Central to the repertoire of Western art music since the 18th century, the symphony has come to be regarded as one of the ultimate compositional challenges. Surprisingly, heretofore there has been no truly extensive, broad-based treatment of the genre, and the best of the existing studies are now several decades old. In this five-volume series, A. Peter Brown explores the symphony from its 18th-century beginnings to the end of the 20th century. Synthesizing the enormous scholarly literature, Brown presents up-to-date overviews of the status of research, discusses any important former or remaining problems of attribution, illuminates the style of specific works and their contexts, and samples early writings on their reception. The Symphonic Repertoire provides an unmatched compendium of knowledge for the student, teacher, performer, and sophisticated amateur. The series is being launched with two volumes on the Viennese symphony. Volume II The First Golden Age of the Viennese Symphony Haydn, Mozart, Beethoven, and Schubert Volume II considers some of the best-known and most universally admired symphonies by Haydn, Mozart, Beethoven, and Schubert, who created what A. Peter Brown designates as the first golden age of the Viennese symphony during the late 18th and first three decades of the 19th century. The last two dozen symphonies by Haydn, half dozen by Mozart, and three by Schubert, together with Beethoven's nine symphonies became established in the repertoire and provided a standard against which every other symphony would be measured. Most significantly, they imparted a prestige to the genre that was only occasionally rivaled by other cyclic compositions. More than 170 symphonies from this repertoire are described and analyzed in The First Golden Age of the Viennese Symphony, the first volume of the series to appear.

The 20th and 21st Centuries have been characterized by theologians and philosophers rethinking theology and revitalizing the tradition. This unique anthology presents contributions from leading contemporary theologians - including Rowan Williams, Fergus Kerr, Aidan Nichols, G.R. Evans and Tracey Rowland - who offer portraits of over fifty key theological thinkers in the modern and postmodern era. Distinguished by its broad ecumenical perspective, this anthology spans arguably one of the most creative periods in the history of Christian theology and includes thinkers from all three Christian traditions: Protestant, Catholic and Orthodox. Each individual portrait in this anthology includes a biographical introduction, an overview of theological or philosophical writing, presentation of key thoughts, and contextual placing of the thinker within 20th Century religious discourse. Overview articles explore postmodern theology, radical orthodoxy, ecumenical theology, feminist theology, and liberation theology. A final section includes portraits of important thinkers who have influenced Christian thought from other fields, not least from Continental philosophy and literature.