Theologian par excellence of the Reformation, John Calvin is best known for his Institutes of the Christian Religion, written as a theological introduction to the Bible and a vindication of Reformation principles. After appearing in several editions beginning in 1536, Calvin's Institutes was finally published in this authoritative 1559 edition. Covering a broad range of theological topics from justification by faith alone to the absolute sovereignty of God, Institutes of the Christian Religion remains influential in the Western world and is still widely read by theological students today.

Bibliographies: v 2, p 1527-1551 Includes indexes.

This book constitutes the second volume of a three-volume study of Christian testimonies to divine suffering: God's Wounds: Hermeneutic of the Christian Symbol of Divine Suffering, vol. 2, Evil and Divine Suffering. The larger study focuses its inquiry into the testimonies to divine suffering themselves, seeking to allow the voices that attest to divine suffering to speak freely, then to discover and elucidate the internal logic or rationality of this family of testimonies, rather than defending these attestations against the dominant claims of classical Christian theism that have historically sought to eliminate such language altogether from Christian discourse about the nature and life of God. This second volume of studies proceeds on the basis of the presuppositions of this symbol, those implicit attestations that provide the conditions of possibility for divine suffering-that which constitutes divine vulnerability with respect to creation-as identified and examined in the first volume of this project: an understanding of God through the primary metaphor of love ("God is love"); and an understanding of the human as created in the image of God, with a life (though finite) analogous to the divine life-the imago Dei as love. The second volume then investigates the first two divine wounds or modes of divine suffering to which the larger family of testimonies to divine suffering normally attest: (1) divine grief, suffering because of betrayal by the beloved human or human sin; and (2) divine self-sacrifice, suffering for the beloved human in its bondage to sin or misery, to establish the possibility of redemption and reconciliation. Each divine wound, thus, constitutes a response to a creaturely occasion. The suffering in each divine wound also occurs in two stages: a passive stage and an active stage. In divine grief, God suffers because of human sin, betrayal of the divine lover by the beloved human: divine sorrow as the passive stage of divine grief; and divine anguish as the active stage of divine grief. In divine self-sacrifice, God suffers in response to the misery or bondage of the beloved human's infidelity: divine travail (focused on the divine incarnation in Jesus of Nazareth) as the active stage of divine self-sacrifice; and divine agony (focused on divine suffering in the crucifixion of Jesus of Nazareth) as the passive stage of divine self-sacrifice.

The phenomenon of iconoclasm, expressed through hostile actions towards images, has occurred in many different cultures throughout history. The destruction and mutilation of images is often motivated by a blend of political and religious ideas and beliefs, and the distinction between various kinds of ’iconoclasms’ is not absolute. In order to explore further the long and varied history of iconoclasm the contributors to this volume consider iconoclastic reactions to various types of objects, both in the very recent and distant past. The majority focus on historical periods but also on history as a backdrop for image troubles of our own day. Development over time is a central question in the volume, and cross-cultural influences are also taken into consideration. This broad approach provides a useful comparative perspective both on earlier controversies over images and relevant issues today. In the multimedia era increased awareness of the possible consequences of the use of images is of utmost importance. ’Iconoclasm from Antiquity to Modernity’ approaches some of the problems related to the display of particular kinds of images in conflicted societies and the power to decide on the use of visual means of expression. It provides a deeper understanding of the mechanisms of the phenomenon of iconoclasm. Of interest to a wide group of scholars the contributors draw upon various sources and disciplines, including art history, cultural history, religion and archaeology, as well as making use of recent research from within social and political sciences and contemporary events. Whilst the texts are addressed primarily to those researching the Western world, the volume contains material which will also be of interest to students of the Middle East.

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Divine Agency and Divine Action, Volume II builds on Volume I, which established that no generic concept of action will suffice for understanding the character of divine actions explicit in the Christian faith. Volume II argues that in order to understand divine action, one must begin with the array of specific actions predicated of God in the Christian tradition. William J. Abraham argues that one must practice theology in order to analyze properly the concept of divine action. Abraham offers a careful review and evaluation of the particularities of divine action as they appear in the work of biblical, patristic, medieval, and Reformation-era theologians. Particular attention is given to the divine inspiration of scripture, creation, incarnation, transubstantiation in the Eucharist, predestination, and divine concurrence. The work does not simply repeat the doctrinal formulations found in the Christian tradition, but examines them in order to find fresh ways of thinking about these issues for our own time, especially with respect to the contemporary debates about divine agency and divine action.