This is an extraordinary text. It addresses no small number of traditional theological concerns. However, it addresses them mindful of the earthiness of life. Thus this is also a book that is concerned to address questions of migration, brain physiology, emotional trauma, time, love, and death. It is written not to satisfy a bloodless lust for the resolution of puzzles. It is written with confidence that tangible bodies think. Thus there is an earthy quality to its writing, both in what (...) it addresses and how it is addressed. The manner of After Crucifixion may be imagined as a moment in which in some unpretentious underground venue the deep, resonant percussions of subwoofers roll as a carnal wave across the chest and throat before they become the bass line in a conscious musical thought. After Crucifixion has been written for the ears, the chest, the throat, no less than for focused, deliberate, disciplined thought. But it is written in particular for bodies befriended by the Mystery of life and death--in the carnal event of the crucifixion/resurrection of the Galilean peasant Jesus, who unhands the fruit of the knowledge of good and evil and thus invites us to join him in prayer. (shrink)

This study takes a Christian perspective on the entire Bible, rather than simply the New Testament. David Wenkel asks: Why did Jesus have to be beaten before his death on the cross? Christian theology has largely focused on Jesus' death but has given relatively little attention to his sufferings. Wenkel's answer contextualizes Jesus' crucifixion sufferings as informed by the language of Proverbs. He explains that Jesus' sufferings demonstrate the wisdom of God's plan to provide a substitute for foolish sinners. (...) Jesus was beaten as a fool - even though he was no fool, in order to fulfill God's loving plan of salvation. This analysis is then placed within the larger storyline of the whole bible - from the Garden of Eden to the story of Israel and beyond. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:CRUCIFIXION: ACCIDENT OR DESIGN? Sebastian Moore, O.S.B. Downside Abbey Lastyear I was visited by an old friend from my Liverpool days. Mike and I had worked together with the young of the parish, and one summer the two of us took a couple of boys camping in France, a trial of patience which made us known to each other at some depth. He was in fact a passionately (...) convinced Catholic, and very pastoral with it. We had many and long theological discussions. On his recent visit to Downside, I was showing him and some friends round our church, when, à propos ofquite what I don't remember, he made a remark about the Catholic cult of suffering, and said, "and it's all because ofthe crucifixion, isn't it? Why don't we recognize that the crucifixion was an accident?" I didn't react, because I was dumbfounded at what seemed to be the denial ofthe mystery ofthe cross by a friend who I had no reason to believe had stopped being a Catholic. And I'm sure he hasn't. He would certainly have told me ifhe had. It has taken me over a year to figure out what is going on here, and this would not have been possible without intensive study of the work of René Girard. The only alternative to saying that the crucifixion was an accident is to say that it was "ordained by God." It is only as ordained by God that this horrible event could be presented to people as a divine affirmation that suffering is to be sought and espoused. Also, it is only as ordained by God that the crucifixion can be thought of as "appeasing God" in some way. Both the moral and the dogmatic implication ofthe crucifixion—that suffering is a good thing, and that God required a victim—are grounded in the notion that God required the crucifixion ofhis Son. And it is because this idea is quite unacceptable, unworthy of God and ofthe human mind made in God's image, that my friend concludes that the crucifixion was not required by God, not written into the eternal scheme ofthings, but an accident. 156Sebastian Moore Once the problem is clarified in these terms, more and more instances come to mind, of rejection, by Christians and others, of the whole divine ordination ofthe cross. Gore Vidal refers to Christianity as "that lugubrious religion." Mary Hunt, a prominent American Catholic feminist, introduced a workshop with the statement, "we are not about naked guys nailed to crosses, blood all over the place!" Where divine ordering is accepted the special painfulness and darkness ofthe idea is noted. Anselm refers to the doctrine as the Narnia Chronicles, to commend the notion, by referring to a dark law written into the nature ofthings beyond our comprehension. The children's suggestion that Asian should simply not comply with the Snow Queen's requirement is rejected by Asian with a mysterious impatience—the children justhaven't grown up, like the romantics who, according to Matthew Arnold, "did not know enough." Again, during a day on "the roots of violence" that I led here yesterday there was much questioning about the role ofGod die Father in the crucifixion. The problem is crystallized in the famous cry from the cross, "Why have you forsaken me?" To my confessedly lame suggestion that Jesus was "only quoting a psalm," someone remarked, "to quote that psalm at thatjuncture and not mean it, is somewhatmisleading!" Again it's the same problem. How can God be understood as ordaining the crucifixion, compatibly with the notion of God as all-loving which Christianity of course affirms? Hans Urs Von Balthasar, who is 90% pro-Girard, in the other 10% wants to hold on to something he calls "the wrath of God." Thus the seeming necessity of having God require and ordain the crucifixion is the main crisis of Christian belief. The six-year-old Willie, in Thomas Klise's amazing novel, The Last Western, puts the problem with childlike directness. He keeps interrupting catechism class with, "Why did God kill Jesus?" and is shushed by Sister. I recall that Illtyd Trethowan said to... (shrink)

Crucifixion and Death as Spectacle: Umayyad Crucifixion in Its Late Antique Context. By Sean W. Anthony. American Oriental Series, vol. 96. New Haven: American Oriental Society, 2014. Pp. x + 99. $39.50.

Was Jesus crucified on the cross? Did Jesus die by crucifixion? This topic generates so much emotion and conflict in Christian-Islamic dialogue as many theories have developed to prove one side of the equation. While several methods can answer Islamic objections against the biblical belief, the evidential Apologetics is the best method to provide evidence for the Christian claims. Evidential Apologetics is one of the methods that seeks to prove the truthfulness of the Christian worldview by showing historical and (...) scientific evidences. Therefore, the aim of this paper is to use the evidential method to answer three major objections that Muslims raise against the crucifixion of Jesus: Jesus was never crucified, the swoon theory, and the substitute theory. The paper will conclude that there are surmounted historical and scientific evidences that support the event of Jesus’s crucifixion. (shrink)

In The Crucifixion and Resurrection of Freddie Gray, Roberto E. Alejandro argues that confessional commitments related to race, society, and structure dominated the interpretation of Gray’s death, stripping the man and his significance from a grieving, impoverished community.

This paper explores conflations of martyrdom, spectatorship, and image theory in Caravaggio’s Crucifixion of St. Peter (1601). It argues that Caravaggio employs an “iconic” visual formula as a response to the pressures of a post-Tridentine poetics. Through these strategies, an iconography of immediacy and presence is paired with a sacrificial subject-matter. This merging united witness and visual experience in the shape of the sacred image. Martyrdom, as both a historical and representational phenomenon of early modern sociality and culture, invoked (...) the act of spectatorship. In connecting the Crucifixion of St. Peter with the cultural and aesthetic paradigms of post-Tridentine Italy, the article argues that Caravaggio’s image re-imagines the codes of iconic repre­sentation. While not a novel academic context for Caravaggio scholarship, I will read this image less as the expression of stylistic tensions in the Roman artworld than as the result of overlapping frameworks—martyrdom, Petrine iconography, and a Counter-Reformation aesthetic. Reenergized as part of the visual rhetoric of Tridentine politics, the icon reflected a new propensity for paleochristian cultural revival. Discussing both the contextual pressures of this new aesthetic regime as well as intertwining it with the increasing presence of Catholic image treatises, the article suggests an “iconic” space for reading Caravaggio’s Crucifixion. This “iconic” framework is built into the charged discourse surrounding the image itself. (shrink)

La représentation de la Crucifixion dans de grandes compositions aux tympans des églises est un phénomène tardif dans l’Occident médiéval : elle pose le problème de l’intégration de l’iconographie monumentale dans le contexte religieux et homilétique. Les premiers exemples de la fin du XIe siècle étaient liés aux hérésies cathare et petrobrusienne du sud de la France1. Au XIVee siècle, la diffusion du thème rend plus difficile une approche globale de la question. Dans le contexte précis et bi...

I model an attempt by radical parties to topple a modus vivendi between a ruling government and a moderate opposition group. Cooperation between the regime and the moderate opposition is possible if each player prefers mutual cooperation to mutual confrontation. If each player also prefers mutual confrontation to cooperating while the other defects then radical parties have a chance at breaking up this accord. Radical parties can succeed in bringing the government and opposition to mutual confrontation if they can agree (...) on power-sharing arrangements after regime change. This paper also resolves central questions surrounding the trial and crucifixion of Jesus Christ. I use an institutional approach to infer player preferences from historical and biblical sources and then use game theory to model the interactions between participants in these events. In so doing, I clarify aspects of the Gospel narrative that have puzzled readers for the past 2000 years. (shrink)

The process of bringing an exhausted order to the grave to make space for the life of new societal practice and belief is represented in ancient Greek drama by the death of the gods who ‘’die’’ once in tragedy and once again in comedy. Hegel reads the second and final death of the gods in ancient comedy as enacting a kind of societal action through which a community reclaims its creative agency by destroying the social and political orders that structured (...) a tragic stage of history. Although Hegel highlights this creative action as going beyond aesthetic representation, he sees ancient comedy as achieving a superficial sense of freedom from tragedy, because the community sees itself as separate from its creation, which is destructible. For this reason Hegel moves beyond ancient comedy and locates comic resolution not in the representation of the death of the old gods on the ancient stage, but in the narrative of the death of Christ. This paper explores how Hegel’s reading of the incarnation and crucifixion of Christ mirrors the ancient tragedy and comedy. I argue that comedy, for Hegel, is realized through the story of the crucifixion, in which the comic community identifies with that which must be destroyed for the reconciliation of its society. (shrink)

This article offers a translation of the hymn De Crucifixione 4 by Ephrem, the Syrian theologian, which forms part of his cycle of hymns for the celebration of Easter. The symbolic interpretation of particularly the tearing of the temple veil in this hymn – together with the cosmic signs which occurred at the death of Jesus – is investigated. An attempt is made to correlate Ephrem’s fierce anti-Jewish polemics with the intentions of the authors of the Synoptic Gospels and with (...) Ephrem’s circumstances at the probable time of composition of the hymn. (shrink)

The paper relates to the classic issue of Islam and the Cross of Christ. It is in two parts. The first part tackles the “textual” issues of the crucifixion in the Qur’an and tafsir, including some of the “minority reports” in Islamic thought. The second part moves on to a Christian theological engagement with the mainstream Islamic denial of the crucifixion of the Messiah. Some of this section springboards off of the well-known discussion of these issues by Kenneth (...) Cragg and others, but the most original emphasis in this “theological” half of the paper is the attempt to bring the Christus Victor model of the Atonement into interaction with Islamic denials of the cross of Christ. (shrink)

Contemporary Christian witness about the death of Jesus moves in a culture already saturated with an aesthetic or intuitive ethic of the crucifixion. That aesthetic has many features acquired though Christianity’s long social dominance. This essay focuses on one aspect, authentically derived from the distinctive understanding Christian faith attributed to the crucifixion. First, I describe the Roman context, and the natural “reading” of the image of a crucified person there, as the background to considering the absence of that (...) image in early Christianity. This leads to exploration of the ways that early Christianity used a variety of typological images to weave a new frame of meaning around the crucifixion of Christ. Then, using Tom Holland’s recent historical synopsis of Christianity, I indicate how this new aesthetic of the cross lodged itself in shared cultural assumptions and perceptions. Finally, I consider the crucial American case of lynching, in which White Christian churches betrayed this distinctive meaning of the crucifixion, Black churches affirmed it, and the cultural aesthetic of crucifixion proved itself a key medium for resistance to lynching. Finally, I suggest some implications for church preaching and teaching in relation to the surrounding culture today. (shrink)

The fact that the New Testament authors often referred or alluded to, or quoted from their Scriptures, and then very often linked those quotations, references, and allusions from their Jewish Scriptures to the Christ-event, has led to the viewpoint of some that ‘Christ is found in the OT’ – that is, that the OT prophesised about the events that took place regarding the person, Jesus of Nazareth. It is the intention of this contribution to confirm the position of mainstream biblical (...) scholarship that the Old Testament does not predict the events surrounding Jesus of Nazareth, but that the New Testament writers interpreted the Jesus-events in hindsight in the light of the Scriptures of Israel. The current study attempts to firstly unfold the meta-narrative of the New Testament in five acts. Against the backdrop of the last of these acts, the case of the crucifixion of Jesus as interpreted by Paul to the early Christians in Galatia receives particular attention. It is argued that Paul’s presentation of the crucifixion in Galatians – as based on Deuteronomy 21:23 – is done retrodictively to portray Yehoshua ben Yoseph as liberator of the law in Asia Minor. This study proposes the coinage of a new term in canonical biblical scholarship, namely the term ‘retrodiction’ – in opposition to the term ‘prediction’. (shrink)

The question of whether the ascended and glorified body of Christ retains the marks of the wounds first became an issue of theological importance in the fifth century with the writings of Cyril of Alexandria and it continued to be developed until the Reformation, when both Luther and Calvin rejected the idea. For the patristic and medieval theologians, the enduring reality of the wounds testify to the intimate connnection between the economy of God’s salvific work within the created order and (...) the eternal economy. It underscored God’s ongoing good intention for, and engagement with, fallen creation. However transformed in glory, the ascended Christ is not to be thought of as dehominised and the evidence of his history as the incarnate and suffering human being is not to be erased. Suffering and sinful humanity finds itself in the Son at the right hand of the Father and it can see there the evidence that the divine heart has and continues to beat with compassion for humanity in its continuing brokenness. It is the enduring presence of the marks of the wounds in heaven that testifies to the divine engagement with the sinful human condition, in both judgment and mercy, which in turn is the basis of humankind’s response of thankfulness. Résumé L’idée que le corps glorifié du Christ, lors de son Ascension, portait ou ne portait pas les stigmates de ses souffrances, devint une question théologique importante pour la première fois au ve siècle, dans les écrits de Cyrille d’Alexandrie, et continua d’être discutée jusqu’à la période de la Réforme, lorsque Luther et Calvin rejetèrent d’emblée cette idée. Aux yeux des Pères de l’Église et des théologiens de l’époque médiévale, la permanence des plaies ouvertes témoignait du rapport étroit entre l’économie salvifique de Dieu à l’intérieur d’un ordre créé et l’économie éternelle. Cela soulignait la continuité de la bienveillance de Dieu et son engagement envers la création déchue. Même glorifié, le Christ de l’Ascension ne doit pas être perçu comme non humain, et les preuves de son passage sur la terre, comme être humain ayant connu la souffrance, ne doivent pas être effacées. Une humanité pécheresse et souffrante se retrouve dans le Fils, à la droite du Père, et reconnaît la compassion du Coeur divin qui continue de battre pour l’humanité sans cesse brisée. La présence durable au ciel des plaies ouvertes témoigne de l’engagement de Dieu envers l’humanité pécheresse, dans son jugement ou sa clémence ; en retour, cet engagement s’avère être le fondement de la réponse de gratitude de l’humanité. (shrink)

The Cross in the Midst of Creation asserts that the crucifixion is ongoing as institutional powers diminish human life and destroy creation, and that the resurrection is ongoing as faith overcomes despair and the Spirit equips people to follow Jesus and to struggle for a transformed world.

How does Christ's crucifixion and resurrection help to effect a reconciliation between a human being and God? Traditionally, Christ is said to 'pay the penalty' for human sin, and thus provide 'satisfaction' to God for human trespass. In this article I argue that this juridical interpretation of Christ's atonement is deficient in substantial ways and offer a transformational, or 'mystical,' interpretation in its place.

Clues in the Gospels, evidence from Jewish historian Josephus, belief in the transmigration of souls, and well-documented examples of erroneous declarations of death, combine to support a natural explanation for the Easter story: Jesus survives his short stay on the cross, and is discovered to be barely alive by the few followers who retrieve him. Fearful because they have illegally retrieved a condemned man, they carry out a decoy burial in a tomb. Jesus expires soon after, and is buried quietly (...) in an anonymous grave, but rumor of his survival reaches his followers, as well as the Romans, who open the tomb and find it empty, except for burial linen used in the decoy. To sooth their grief the disciples seize on the rumor of Jesus’ survival and encourage each other to hear the voice and see the image of their master in others. Although the probability of the scenario proposed herein is low, it is surely far larger than the supernatural one. It also is arguably more likely than other non-supernatural hypotheses. It does not require Jesus to survive his crucifixion and meet his followers, or, if Jesus died, to have his body stolen, or be removed from the tomb after the Sabbath and reburied in a lower class graveyard. One only need propose that Jesus was still alive when taken down from the cross and envision how events most likely would unfold from there. (shrink)

Picasso's Crucifixion of 1932 is one of his few works that contains Christian imagery. The painting combines traditional elements with aspects - typical of Picasso's oeuvre - that seem intentionally obscure. Iconographic tools of art history and theology are inadequate to explicate the work. Why did Picasso choose to measure himself against this subject? The answers are seen in his Catholic upbringing, his love for old master paintings, his desire to stay a step ahead of his public's expectations, the (...) vicissitudes of his private life, and the obsessive fears and desires that drove his creativity. Picasso's Crucifixion represents a step in the artist's complex and contradictory spiritual search, revealing an inquiry into the nature of Christianity and a psychological yearning for redemption. (shrink)

If the condemnation and crucifixion of Christ is interpreted in the key of Lutheran divine omniscience and absence of alternative possibilities, an apparent contradiction regarding the moral responsibility and duties of the Israelite executioners of Christ would arise. This contradiction would be the following: How can we sustain the moral responsibility of the executioners if they did not have alternative possibilities and, according to Christ’s first Saying on the cross, they did not know what they were doing? How could (...) it be possible to attribute duties to the executioners if they were not able to fulfill them? These problems can be addressed from a semicompatibilistic perspective of moral responsibility. It could be argued that: 1) the absence of alternative possibilities does not exclude the fact that the executioners could be considered morally responsible for Christ’s crucifixion, and that 2) the impossibility of fulfilling certain duties does not imply that the executioners would not have had these duties and cannot be considered morally responsible for their breach. (shrink)