Patristic thinking is the bedrock of the uniformity of Byzantine culture, legitimization of image use in the Eastern Church, as well as Byzantine aesthetics, Karahan argues. The synergy in Late Byzantine holy images of "meta-images" for God's inexplicability, and elaborated dramatized narration for God's immanence epitomize orthodox tradition in general, and in particular fourth-century Cappadocian modes and models of thought on Christology, trinitarian theology and the Theotokos. The incomprehensible, uncircumscribed invisible Trinity, and the comprehensible God-man born of the Theotokos, circumscribed in flesh but not in divinity is a one-God reality of transcendent ontology and actions in the world of the two-natured image of God, Christ. Explanations in words or in images cannot ignore these orthodox axioms without turning into false images or heretic idols. This book explores why and how the idiosyncratic use of color, form, kinetics, light, and brilliance in Late Byzantine aesthetics concur with the tradition of the Fathers. How narration in image as well as literature is orthodoxos, 'of right belief, orthodox'.

Papers presented at the Fifteenth International Conference on Patristic Studies held in Oxford 2007 (see also Studia Patristica 45, 46, 47, 48 and 49). The successive sets of Studia Patristica contain papers delivered at the International Conferences on Patristic Studies, which meet for a week once every four years in Oxford; they are held under the aegis of the Theology Faculty of the University. Members of these conferences come from all over the world and most offer papers. These range over the whole field, both East and West, from the second century to a section on the Nachleben of the Fathers. The majority are short papers dealing with some small and manageable point; they raise and sometimes resolve questions about the authenticity of documents, dates of events, and such like, and some unveil new texts. The smaller number of longer papers put such matters into context and indicate wider trends. The whole reflects the state of Patristic scholarship and demonstrates the vigour and popularity of the subject.

Protestant theology and culture are known for a reserved, at times skeptical, attitude to the use of art and aesthetic forms of expression in a religious context. In Transcendence and Sensoriness, this attitude is analysed and discussed both theoretically and through case studies considered in a broad theological and philosophical framework of religious aesthetics. Nordic scholars of theology, philosophy, art, music, and architecture, discuss questions of transcendence, the human senses, and the arts in order to challenge established perspectives within the aesthetics of religion and theology.

Annually published since 1930, the International Bibliography of Historical Sciences (IBOHS) is an international bibliography of the most important historical monographs and periodical articles published throughout the world, which deal with history from the earliest to the most recent times. The IBOHS is thus currently the only continuous bibliography of its kind covering such a broad period of time, spectrum of subjects and geographical range. The works are arranged systematically according to period, region or historical discipline, and alphabetically according to authors names or, in the case of anonymous works, by the characteristic main title word. The bibliography contains a geographical index and indexes of persons and authors.

It has long been an accepted assumption that the abstracted mode of visual representation that emerged in late antiquity reflected a collective shift from the outer-directed and ’material’ world-view of classical antiquity to an inner-directed, ’spiritual’ mentality informed by Christianity: the purpose of this volume is to offer a more nuanced and diverse image of the nature and meanings of abstraction and symbolism in late antique and early medieval art, beyond normative intepretation models, and from a number of different methodological and interpretative perspectives. In ten chapters, ten authors specialised in various fields of late-antique and Byzantine art explore the historiographical background of the ’spiritual’ interpretation paradigm, neuroscientific and theological dimensions of Christian visual aesthetics, meanings and motive factors behind apparently wholly abstract and aniconic compositions, symbolic motifs and schemes for visualising cosmic order and the cosmic state of Christ, and the re-use of symbolic Greco-Roman themes in Christian contexts. The result is a multi-focal image of late antique abstraction and symbolism that illuminates the heterogeneity and complexity of the phenomena and of their study.

This book brings the Cappadocian Fathers to life and explores their contributions to subsequent Christian thought. Melding together a thematic and individualized approach, the book examines Cappadocian thought in relation to Greek philosophy and the musings of other Christian thinkers of the time. The volume is unique in that it details the Cappadocian legacy upon the three central divisions of Christianity, rather than focusing on one confession. Providing a multifaceted assessment of the spirituality and beliefs of the fourth-century Church, contributors interweave historical studies into their philosophical and theological discussions. The volume draws together an international team of scholars from a variety of academic backgrounds including philosophy, theology, and Classics. The contributors bring their unique perspectives to bear on their analysis of the Cappadocians’ theological contributions. Special attention is given to the Cappadocians’ influence on pneumatology, Christology, and ethics. The Ecumenical Legacy of the Cappadocians sets the Cappodocians’ theoretical views in relief against the political and historical background of their day, enlivening and vivifying the analysis with engaging biographical sketches.