Religion has always been an integral part of the literary tradition: many canonical and non-canonical texts engage extensively with religious ideas, and the development of English Literature as a professional discipline began with an explicit consideration of the relationship between religion and literature. Literature also plays an important role in religious writing, as twentieth-century work on narrative theology has acknowledged. Both the recent theological turn of literary theory and the renewed political significance of religious debate in contemporary western culture have generated further interest in this interdisciplinary area. An Introduction to Religion and Literature offers a lucid, accessible and thoughtful introduction to the study of religion and literature. While the focus is on Christian theology and post-1800 British literature, substantial reference is made to earlier writers, texts from North America and mainland Europe, and other faith positions. Each chapter takes up a major theological idea and explores it through close readings of well-known and influential literary texts.

Examines the ways in which religion was constructed as a category and region of experience in nineteenth-century literature and culture.

The Bible played a crucial role in shaping Anglo-Saxon national and cultural identity. However, access to Biblical texts was necessarily limited to very few individuals in Medieval England. In this book, Samantha Zacher explores how the very earliest English Biblical poetry creatively adapted, commented on and spread Biblical narratives and traditions to the wider population. Systematically surveying the manuscripts of surviving poems, the book shows how these vernacular poets commemorated the Hebrews as God's 'chosen people' and claimed the inheritance of that status for Anglo-Saxon England. Drawing on contemporary translation theory, the book undertakes close readings of the poems Exodus, Daniel and Judith in order to examine their methods of adaptation for their particular theologico-political circumstances and the way they portray and problematize Judaeo-Christian religious identities.

Romanticism marked a dramatic turning point in philosophy and aesthetics. The shift from Classicism to Romanticism to Modernism and its Posts is paralleled in the shift from Kant to Hegel to Nietzsche to Derrida. The central notions of the Enlightenment: nature, progress, rationalism, and rejection of the irrational are opposed by the central notions of the Counter-Enlightenment: relativism, vitalism, anti-rationalism, and sense of the organic. Then there is the idea of freedom at the heart of the West’s religious and secular vocabularies. The authors discussed in this study ask their readers to consider the question of freedom and constraints upon it. For some, freedom is found in Christianity; for others, Christianity is freedom’s enemy.

Marjorie Wheeler-Barclay argues that, although the existence and significance of the science of religion has been barely visible to modern scholars of the Victorian period, it was a subject of lively and extensive debate among nineteenth-century readers and audiences. She shows how an earlier generation of scholars in Victorian Britain attempted to arrive at a dispassionate understanding of the psychological and social meanings of religious beliefs and practices—a topic not without contemporary resonance in a time when so many people feel both empowered and threatened by religious passion—and provides the kind of history she feels has been neglected. Wheeler-Barclay examines the lives and work of six scholars: Friedrich Max Müller, Edward B. Tylor, Andrew Lang, William Robertson Smith, James G. Frazer, and Jane Ellen Harrison. She illuminates their attempts to create a scholarly, non-apologetic study of religion and religions that drew upon several different disciplines, including anthropology, sociology, the classics, and Oriental studies, and relied upon contributions from those outside as well as within the universities. This intellectual enterprise—variously known as comparative religion, the history of religions, or the science of religion—was primarily focused on non-Christian religions. Yet in Wheeler-Barclay’s study of the history of this field within the broad contexts of Victorian cultural, intellectual, social, and political history, she traces the links between the emergence of the science of religion to debates about Christianity and to the history of British imperialism, the latter of which made possible the collection of so much of the ethnographic data on which the scholars relied and which legitimized exploration and conquest. Far from promoting an anti-religious or materialistic agenda, the science of religion opened up cultural space for an exploration of religion that was not constricted by the terms of contemporary conflicts over Darwin and the Bible and that made it possible to think in new and more flexible ways about the very definition of religion.

The rise of the Christian Right took many writers and literary critics by surprise, trained as we were to think that religions waned as societies became modern. In If God Meant to Interfere, Christopher Douglas shows that American writers struggled to understand and respond to this new social and political force. Religiously inflected literature since the 1970s must be understood in the context of this unforeseen resurgence of conservative Christianity, he argues, a resurgence that realigned the literary and cultural fields. Among the writers Douglas considers are Marilynne Robinson, Barbara Kingsolver, Cormac McCarthy, Thomas Pynchon, Ishmael Reed, N. Scott Momaday, Gloria Anzaldúa, Philip Roth, Carl Sagan, and Dan Brown. Their fictions engaged a wide range of topics: religious conspiracies, faith and wonder, slavery and imperialism, evolution and extraterrestrial contact, alternate histories and ancestral spiritualities. But this is only part of the story. Liberal-leaning literary writers responding to the resurgence were sometimes confused by the Christian Right’s strange entanglement with the contemporary paradigms of multiculturalism and postmodernism —leading to complex emergent phenomena that Douglas terms "Christian multiculturalism" and "Christian postmodernism." Ultimately, If God Meant to Interfere shows the value of listening to our literature for its sometimes subterranean attention to the religious and social upheavals going on around it.

Explores the production of John Foxe's 'Book of Martyrs', a milestone in the history of the English book.