Word: christe
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Dates: during 1960-1969
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Precisely, says Moltmann. What makes man's future so full of promise is not the modernist's idea of upward, evolutionary progress inherent in man but, quite simply, Christ's death and Resurrection. No matter whether the Resurrection is verifiable as a historical event; that "something" happened to give early Christians their immense hope is evidence enough. In addition, argues Moltmann, while the Resurrection may be "the sign of future hope," the cross itself-through Christ's sacrifice-means "hope to the-hopeless...
...such theological concepts impel men toward social revolution? Indeed, yes. U.S. Theologian Richard Shaull says that only at the center of the revolution can we "perceive what God is doing." His fellow romanticist Rubem Alves, a 36-year-old Brazilian Protestant, thinks man must meet the liberating event of Christ's Resurrection halfway, as "cocreator" of his own destiny (a Teilhardian notion) through the processes of political revolution. Moltmann frankly admits that hope leads to revolution, declaring that the Christian community ought above all to favor the poor and the dispossessed. But both he and Alves suggest that Christians...
...theologians are hardly alone in recommending the rediscovery of joy to a new generation of believers. In fact, the emphasis on the Dionysian element in life-celebration, song, dance, laughter-is fast acquiring a theology of its own. In The Feast of Fools, Harvey Cox presents Christ as clown and Christianity as comedy, because the world "should not be taken with ultimate or final seriousness." Theologian Sam Keen, 38, pleads a similar case in Apology for Wonder. While he believes that "the wise man is a dancer," he insists that the "authentic" man temper his ecstasy with a sense...
Amor Interruptus. Perella views early Christians as erotic mystics. The New Testament shows Christ to have been an active kisser, though in his case it must be assumed that kissing was the religious equivalent of mouth-to-mouth resuscitation...
...entirely artless-know that Christmas began with an angel. The soaring radiance of medieval and Renaissance art turned again and again to the Annunciation and the astonishing moment when Gabriel first appeared to Mary with the slightly scandalous news that she was about to become the mother of Christ. Multiplied and modified by commerce, these and kindred images -of angels flying, angels tootling on long trumpets, angels simply adoring -have become as much a part of worldly Christmas as street-corner Santas. And when the New Year comes, they seem as swiftly and easily forgotten...