Dominique Janicaud once famously critiqued the work of French phenomenologists of the theological turn because their work was built on the seemingly corrupt basis of Heidegger's notion of the inapparent or inconspicuous. In this powerful reconsideration and extension of Heidegger's phenomenology of the inconspicuous, Jason W. Alvis deftly suggests that inconspicuousness characterizes something fully present and active, yet quickly overlooked. Alvis develops the idea of inconspicuousness through creative appraisals of key concepts of the thinkers of the French theological turn and then employs it to describe the paradoxes of religious experience.

Dominique Janicaud once famously critiqued the work of French phenomenologists of the theological turn because their work was built on the seemingly corrupt basis of Heidegger's notion of the inapparent or inconspicuous. In this powerful reconsideration and extension of Heidegger's phenomenology of the inconspicuous, Jason W. Alvis deftly suggests that inconspicuousness characterizes something fully present and active, yet quickly overlooked. Alvis develops the idea of inconspicuousness through creative appraisals of key concepts of the thinkers of the French theological turn and then employs it to describe the paradoxes of religious experience.

Phenomenology and the Theological Turnbrings together the debate over Janicaud's critique of the theological turnrepresented by the works of Emmanuel Levinas, Paul Ricour, Jean-Luc Marion, Jean-Franois Courtine, Jean-Louis Chrtien, and Michel Henry.

Guy Fawkes’s son must join his father’s plot to kill the king in this magical retelling of the Gunpowder Plot that will sweep you back in time to a divided England where plagues turn victims to stone. In 17th-century London two forces rule the people: the color powers and the Stone Plague. Brown masks can manipulate wood. Black masks control the night. And red masks . . . Well, red is the color of blood. Thomas Fawkes’s Color Test is upon him, and he is sure his father, the infamous Guy Fawkes, will present him with a mask and Thomas will finally bond with a color. He desperately hopes for a gray mask so he can remove the stone that has invaded his body and will ultimately take his life. But when Guy refuses to give Thomas his mask or even his presence, Thomas has no place in school or society. His only hope is to track down his father and demand a mask to regain what he’s lost. But his father has other plans: to kill the king. Thomas must join forces with his father if he wants to save his own life. When his errands for the cause bring him time and again to Emma Areben, a former classmate, Thomas is exposed to a whole new brand of magic. And Emma doesn’t control just one color—she controls them all. Emma wants to show Thomas the full power of color magic, but it goes against everything his father is fighting for. If Thomas sides with his father, he could save his own life—which would destroy Emma and her family. To save one, he must sacrifice the other. No matter Thomas’s choice, one thing is clear: once the decision is made and the color masks have been put on, there’s no turning back. Praise for Fawkes: “An imaginative, colorful tale about choosing for yourself between what's right and what others insist is the truth.” —Cynthia Hand, New York Times bestselling author of My Lady Jane “Hold on to your heart as this slow burning adventure quickly escalates into an explosion of magic, love, and the truth about loyalty.” —Mary Weber, bestselling author of the Storm Siren Trilogy and To Best the Boys Full-length young adult historical fantasy Includes discussion questions for book clubs Also by Nadine Brandes: Romanov and Wishtress, coming September 2022

This provocative addition to The Church and Postmodern Culture series offers a lively rereading of Charles Sheldon's In His Steps as a constructive way forward. John D. Caputo introduces the notion of why the church needs deconstruction, positively defines deconstruction's role in renewal, deconstructs idols of the church, and imagines the future of the church in addressing the practical implications of this for the church's life through liturgy, worship, preaching, and teaching. Students of philosophy, theology, religion, and ministry, as well as others interested in engaging postmodernism and the emerging church phenomenon, will welcome this provocative, non-technical work.

Esther surprises us by never mentioning God or his intervention. Yet we ourselves are familiar with not experiencing divine intervention in our secular world. Where is God in it all?

What are the foundations of human self-understanding and the value of responsible philosophical questioning? Focusing on Heidegger's early work on facticity, historicity, and the phenomenological hermeneutics of factical-historical life, Hans-Helmuth Gander develops an idea of understanding that reflects our connection with the world and other, and thus invites deep consideration of phenomenology, hermeneutics, and deconstruction. He draws usefully on Husserl's phenomenology and provides grounds for exchange with Descartes, Dilthey, Nietzsche, Gadamer, Ricoeur, and Foucault. On the way to developing a contemporary hermeneutical philosophy, Gander clarifies the human relation to self in and through conversation with Heidegger's early hermeneutics. Questions about reading and writing then follow as these are the very actions that structure human self-understanding and world understanding.