For the past four hundred years, theological debate has been dominated by a fundamental divide: between the liberals, with strong loyalties to the secularity of the secular state and university on the one hand, and the neo-orthodox, insisting on the absolute priority of a proper loyalty to the church community itself, on the other. God and Modernity strikes off in a fundamentally new directionAndrew Shanks boldly calls for a new and better way to do theology. Shanks argues that God is most present in a culture where public debate over ethical issues flourishes best. Social movements such as feminist movements, peace movements, and green movements have emerged to challenge both Church and State. These new movements are no longer confined to a particular confessional religious identity and are independent of state sponsorship. These social movements already made an individual impact on theology. What would a theology look like, systematically trying to reconcile older divisions in the theological debate with a new loyalty to such movements common ethos? Anyone wishing to gain a refreshing insight into a new way of understanding theology and politics will welcome this ground-breaking book.

This important new volume brings together Habermas' key writing on religion and religious belief. Habermas explores the relations between Christian and Jewish thought, on the one hand, and the Western philosophical tradition on the other. In so doing, he examines a range of important figures, including Benjamin, Heidegger, Johann Baptist Metz and Gershom Scholem. In a new introduction written especially for this volume, Eduardo Mendieta places Habermas' engagement with religion in the context of his work as a whole. Mendieta also discusses Habermas' writings in relation to Jewish Messianism and the Frankfurt School, showing how the essays in Religion and Rationality, one of which is translated into English for the first time, foreground an important, yet often neglected, dimension of critical theory. The volume concludes with an original extended interview, also in English for the first time, in which Habermas develops his current views on religion in modern society. This book will be of great interest to students and scholars in theology, religious studies and philosophy, as well as to all those already familiar with Habermas' work.

Jeremy Begbie explores how the practices of music and the discourses it has generated bear witness to some of the pivotal theological currents and counter-currents shaping modernity. Begbie argues that music is capable of yielding highly effective ways of addressing some of the more intractable theological problems and dilemmas of modernity.

Taking as his starting point the collapse of the medieval world, Gillespie argues that from the very beginning moderns sought not to eliminate religion but to support a new view of religion and its place in human life- and that they did so not out of hostility but in order to sustain certain religious beliefs. He goes on to explore the ideas of such figures as William of Ockham, Petrarch, Erasmus, Luther, Descartes, and Hobbes, showing that modernity is best understood as the result of a series of attempts to formulate a new and coherent metaphysics or theology.

Is contemporary art a friend or foe of Christianity? Art historian, critic, and curator Daniel Siedell, addresses this question and presents a framework for interpreting art from a Christian worldview in God in the Gallery: A Christian Embrace of Modern Art. As such, it is an excellent companion to Francis Schaeffer's classic Art and the Bible. Divided into three parts--"Theology," "History," and "Practice"--God in the Gallery demonstrates that art is in conversation with and not opposed to the Christian faith. In addition, this book is beautifully enhanced with images from such artists as Andy Warhol, Jackson Pollock, Enrique Martínez Celaya, and others. Readers of this book will include professors, students, artists, and anyone interested in Christianity and culture.

Should Christians even bother with modern art? This STA volume gathers the reflections of artists, art historians, and theologians who collectively offer a more complicated narrative of the history of modern art and its place in the Christian life. Readers will find insights on the work and faith of artists like Marc Chagall, Jackson Pollock, Mark Rothko, Andy Warhol, and more.

A master historian traces the flourishing of organized religion in Manhattan between the 1880s and the 1960s, revealing how faith adapted and thrived in the supposed capital of American secularism. In Gilded Age Manhattan, Catholic, Jewish, and Protestant leaders agonized over the fate of traditional religious practice amid chaotic and multiplying pluralism. Massive immigration, the anonymity of urban life, and modernity's rationalism, bureaucratization, and professionalization seemingly eviscerated the sense of religious community. Yet fears of religion's demise were dramatically overblown. Jon Butler finds a spiritual hothouse in the supposed capital of American secularism. By the 1950s Manhattan was full of the sacred. Catholics, Jews, and Protestants peppered the borough with sanctuaries great and small. Manhattan became a center of religious publishing and broadcasting and was home to august spiritual reformers from Reinhold Niebuhr to Abraham Heschel, Dorothy Day, and Norman Vincent Peale. A host of white nontraditional groups met in midtown hotels, while black worshippers gathered in Harlem's storefront churches. Though denied the ministry almost everywhere, women shaped the lived religion of congregations, founded missionary societies, and, in organizations such as the Zionist Hadassah, fused spirituality and political activism. And after 1945, when Manhattan's young families rushed to New Jersey and Long Island's booming suburbs, they recreated the religious institutions that had shaped their youth. God in Gotham portrays a city where people of faith engaged modernity rather than floundered in it. Far from the world of "disenchantment" that sociologist Max Weber bemoaned, modern Manhattan actually birthed an urban spiritual landscape of unparalleled breadth, suggesting that modernity enabled rather than crippled religion in America well into the 1960s.