God Matters is a state-of-the-art, accessible anthology of the major issues in philosophy of religion. Its accessibility is due to its mix of classic readings and brand new readings about contemporary issues, commissioned specifically with an undergraduate student in mind. These commissioned readings make the difficult concepts of contemporary philosophy of religion easy to understand, and are complemented by key excerpts from more technical philosophers' writing on the same subjects. The result is an engaging, comprehensive reader that introduces students to the most important ideas in classical and contemporary philosophy of religion, to the most important thinkers, and even to excerpts from the key texts in which these thinkers presented their groundbreaking theories. ~ Product Description

"The lordship of Christ should include an interest in the arts," writes Francis Schaeffer. "A Christian should use these arts to the glory of God, not just as tracts, mind you, but as things of beauty to the praise of God." Many Christians, wary of creating graven images, have steered clear of artistic creativity. But the Bible offers a robust affirmation of the arts. The human impulse to create reflects our being created in the image of a creator God. Art and the Bible has been a foundational work for generations of Christians in the arts. In this book's classic essays, Francis Schaeffer first examines the scriptural record of the use of various art forms, and then establishes a Christian perspective on art. With clarity and vigor, Schaeffer explains why "the Christian is the one whose imagination should fly beyond the stars." ~ Product Description

Most, if not all, other books on naturalism are written for professional philosophers alone. Stewart Goetz and Charles Taliaferro offer a book that — without losing anything in the way of scholarly standards — is primarily aimed at a college-educated audience interested in learning about this pervasive worldview. Naturalism groups the various terms of this philosophy into two general categories: strict naturalism and broad naturalism. According to the strict version, all that exists can be exhaustively described and explained by the natural sciences. As Goetz and Taliaferro explain it, broad naturalism allows that there may be some things beyond physics and the natural sciences, but insists that there can be no reality beyond nature — i.e., God — and explicitly rules out the possibility of souls. The authors argue that both categories face substantial objections in their failure to allow for consciousness, human free will, and values. They offer sustained replies to the naturalist critique of the soul and the existence of God and engage in critical evaluations of works by scholarly and popular advocates of naturalism — Daniel Dennett, Richard Dawkins, Thomas Nagel, Jaegwon Kim, and others.

Clear, concise, and persuasive, Atheist Universe details exactly why God is unnecessary to explain the universe and life's diversity, organization, and beauty. The author thoroughly rebuts every argument that claims to "prove" God's existence — arguments based on logic, common sense, philosophy, ethics, history and science. Atheist Universe avoids the esoteric language and logic used by philosophers and presents its scientific evidence in simple lay terms, making it a richly entertaining and easy-to-read introduction to atheism. A comprehensive primer, it addresses all the historical and scientific questions, including: Is there proof that God does not exist? What evidence is there of Jesus's resurrection? Can creation science reconcile scripture with the latest scientific discoveries? Atheist Universe also answers ethical issues such as: What is the meaning of life without God? It's a spellbinding inquiry that ultimately arrives at a controversial and well-documented conclusion. ~ Product Description

From the earliest period of its existence, Christianity has been recognized as the "religion of the cross." Some of the great monuments of Western art are representations of the brutal torture and execution of Christ. Despite the horror of crucifixion, we often find such images beautiful. The beauty of the cross expresses the central paradox of Christian faith: the cross of Christ's execution is the symbol of God's victory over death and sin. The cross as an aesthetic object and as a means of devotion corresponds to the mystery of God's wisdom and power manifest in suffering and apparent failure. In this volume, Richard Viladesau seeks to understand the beauty of the cross as it developed in both theology and art from their beginnings until the eve of the renaissance. He argues that art and symbolism functioned as an alternative strand of theological expression -- sometimes parallel to, sometimes interwoven with, and sometimes in tension with formal theological reflection on the meaning of the Crucifixion and its role insalvation history. Using specific works of art to epitomize particular artistic and theological paradigms, Viladesau then explores the contours of each paradigm through the works of representative theologians as well as liturgical, poetic, artistic, and musical sources. The beauty of the cross is examined from Patristic theology and the earliest representations of the Logos on the cross, to the monastic theology of victory and the Romanesque crucified "majesty," to the Anselmian "revolution" that centered theological and artistic attention on the suffering humanity of Jesus, and finally to the breakdown of the high scholastic theology of the redemption inempirically concentrated nominalism and the beginnings of naturalism in art. By examining the relationship between aesthetic and conceptual theology, Viladesau deepens our understanding of the foremost symbol of Christianity. This volume makes an important contribution to an emerging field, breaking new ground in theological aesthetics. The Beauty of the Cross is a valuable resource for scholars, students, and anyone interested in the passion of Christ and its representation.

This is an accessible response to the contemporary anti-God arguments of the 'new atheists' (Dawkins, Dennett, Harris, Hitchens, Grayling, etc). Atheism has become militant in the past few years, with its own popular mass media evangelists such as Richard Dawkins and Daniel Dennett. In this readable book, Christian philosopher Peter S. Williams considers the arguments of the 'new atheists' and finds them wanting. Williams explains the history of atheism and responds to the claims that: 'belief in God causes more harm than good'; 'religion is about blind faith and science is the only way to know things'; 'science can explain religion away'; 'there is not enough evidence for God'; 'the arguments for God's existence do not work'. Williams argues that belief in God is more intellectually plausible than atheism. ~ Product Description

Since 1948, a growing number of scholars have been formulating and developing a series of arguments that the concept of God — as understood by the world's leading theologians and major religions — is logically contradictory, and therefore God not only does not exist but, more significantly, cannot exist. In short, God is impossible. This unique anthology collects for the first time most of the important published arguments for the impossibility of God. Included are selections by J.L. Mackie, Quentin Smith, Theodore Drange, Michael Martin, and many other distinguished scholars. The editors provide a valuable general introduction and helpful summaries of the cricual issues involved. ~ Product Description

Recounting the biblical stories through visual images was the most prestigious form of commission for a Renaissance artist. In this book, Jules Lubbock examines some of the most famous of these pictorial narratives by artists of the caliber of Giovanni Pisano, Duccio, Giotto, Ghiberti, Brunelleschi, Donatello and Masaccio. He explains how these artists portrayed the major biblical events, such as: the Sacrifice of Isaac, the Annunciation, the Feast of Herod and the Trial and Passion of Jesus, so as to be easily recognizable and, at the same time, to capture our attention and imagination for long enough to enable us to search for deeper meanings. He provides evidence showing that the Church favoured the production of images that lent themselves to being read and interpreted in this way, and he describes the works themselves to demonstrate how the pleasurable activity of deciphering these meanings can work in practice. This fascinating book is richly illustrated, and many of it's photographs have been specially taken to show how the paintings and relief sculptures appear in the settings, for which they were originally designed. Seen from these viewpoints, they become more readily intelligible. Likewise, the starting point and the originality of Lubbock's interpretations lies in his accepting that these works of art were primarily designed to help people to reflect upon the ethical and religious significance of the biblical stories. The early Renaissance artists developed their highly innovative techniques to further these objectives, not as ends in themselves. Thus, the book aims to appeal to students, scholars and the general public, who are interested in Renaissance art and to those with a religious interest in biblical imagery.

Terry Eagleton's witty and polemical Reason, Faith, and Revolution is bound to cause a stir among scientists, theologians, people of faith and people of no faith, as well as general readers eager to understand the God Debate. On the one hand, Eagleton demolishes what he calls the “superstitious” view of God held by most atheists and agnostics and offers in its place a revolutionary account of the Christian Gospel. On the other hand, he launches a stinging assault on the betrayal of this revolution by institutional Christianity. There is little joy here, then, either for the anti-God brigade — Richard Dawkins and Christopher Hitchens in particular — nor for many conventional believers. Instead, Eagleton offers his own vibrant account of religion and politics in a book that ranges from the Holy Spirit to the recent history of the Middle East, from Thomas Aquinas to the Twin Towers. ~ Product Description

Since the great works of classic Greek philosophy are seldom taught either at the high school or college level, the author gives a brief but convincing grounding in Aristotle. Proceeding through other great thinkers like Thomas Aquinas, he relentlessly shows the universal applicability of moral principles. The book is a very effective foil for those post-modern thinkers who believe (without proof) that mankind has moved beyond the natural law, or that there is no such thing. The book is written at a very readable level. ~ W. Patrick Cunningham