This updated edition by one of the world's leading apologists presents a systematic, positive case for Christianity that reflects the latest work in the contemporary hard sciences and humanities. Brilliant and accessible.

Evangelical Theology is a systematic theology written from the perspective of a biblical scholar. Michael F. Bird contends that the center, unity, and boundary of the evangelical faith is the evangel (= gospel), as opposed to things like justification by faith or inerrancy. The evangel is the unifying thread in evangelical theology and the theological hermeneutic through which the various loci of theology need to be understood. Using the gospel as a theological leitmotif—an approach to Christian doctrine that begins with the gospel and sees each loci through the lens of the gospel—this text presents an authentically evangelical theology, as opposed to an ordinary systematic theology written by an evangelical theologian. According to the author, theology is the drama of gospelizing—performing and living out the gospel in the theatre of Christian life. The text features tables, sidebars, and questions for discussion. The end of every part includes a “What to Take Home” section that gives students a run-down on what they need to know. And since reading theology can often be dry and cerebral, the author applies his unique sense of humor in occasional “Comic Belief” sections so that students may enjoy their learning experience through some theological humor added for good measure.

The descent of Jesus Christ to the dead has been a fundamental tenet of the Christian faith, as indicated by its inclusion in both the Apostles' and Athanasian Creeds. But it has also been the subject of suspicion and scrutiny, especially from evangelicals. Led by the mystery and wonder of Holy Saturday, Matthew Emerson offers an exploration of the biblical, historical, theological, and practical implications of the descent.

Since Arthur Symons’s declaration in 1895 in the Saturday Review that Christina Rossetti was “among the great poets of the nineteenth century,” Rossetti’s image among critics has undergone permutations as divergent as Victorian culture is from postmodern. Now Diane D’Amico redeems Rossetti from the various one-dimensional castings assigned her across the generations—those of a saint writing poetry for God; of a sexually repressed, neurotic woman of minor talent; and, most recently, of a subversive feminist questioning the patriarchy—and renders a fuller, more intricate understanding of the poet than any to date. With flawless logic, balance, and clarity, D’Amico seals her case that Rossetti’s faith, her gender, and the times in which she lived should all be considered to appreciate her poetic voice. According to D’Amico, the image of Rossetti that can best serve as a guide to her more than one thousand poems reflects the centrality of her faith—not as evidence of sexual repression nor necessarily as absolute truth, but as absolute truth for Rossetti. It will then become apparent how Rossetti’s commitment to her Christian faith, her experience as a Victorian woman, and her poetic vocation are inextricably interwoven.