In lieu of an abstract, here is a brief excerpt of the content:Missing the Cross?Types of the Passion in Early Christian ArtS. Mark Heim (bio)René Girard has frequently contended that the core of his best known theories is already contained in the Bible, that in the end he is "only a kind of exegete" (Girard and Treguer 1994, 196). To those who object that the Bible had to wait two thousand years to be read as he reads it, he protests (...) that this is a gross exaggeration: "three quarters of what I say can be found in Saint Augustine" (196). In the introduction to I See Satan Fall like Lightning, Girard puts it like this:The Passion accounts reveal a phenomenon that unbeknownst to us generates all human cultures and still warps our human vision in favor of all sorts of exclusions and scapegoating. If this analysis is true, the explanatory power of Jesus's death is much greater than we realize, and Paul's exalted idea of the cross as the source of all knowledge is anthropologically sound.(2001, 3)In other words, Girard's insight comes only in the train of revelation. The revelation in the biblical sources was not perfectly grasped in the religious traditions that flowed from them, and was frequently betrayed through the construction of sacrificial theologies. But Girard insists that its power was in significant measure perceived and effective from the beginning. His view of the meaning of the passion cannot be correct if he is the first one to see it. So it is no minor matter to ask whether in fact early Christians saw the connection of the cross with scapegoating that is so central for Girard.One point that appears to tell against Girard's case is the absence of images of the cross and crucifixion in the first four Christian centuries. A brutal realism about this specific event is the keystone of Girard's understanding of the passion narratives. The fact that the sight is literally hidden from view throughout this formative Christian period hardly appears consistent with his claims.There is a notable early Christian work of art, the so-called Brescia Casket (see fig. 1), that sheds some important light on the general question of the [End Page 183] representation of the passion and, even more dramatically, upon its interpretation in Girardian terms. The casket indicates that the widespread use of Old Testament types as representations of Christ, and specifically as representations of his passion, may partly explain the absence of literal depiction of the crucifixion. And the particular types involved fit extremely well with Girard's outlook. This essay draws out the connection—so far unremarked—between this significant work of early Christian art and Girard's reading of the passion. Click for larger view View full resolutionFigure 1.Brescia Casket. Ivory, late fourth century.Christ's passion and death were described in stark terms in the gospels and recounted explicitly from the beginning in the church's liturgy, teaching, and preaching. On this plane, there is no question of the centrality of the cross. Yet no literal depictions of the crucifixion survive in art from the first four Christian centuries. There is no entirely satisfactory explanation of why the cross would figure so centrally in Christian faith and worship, but be visually absent. Representations of Jesus in early Christian art most often display a healer, wonderworker, or teacher. In fact, the early centuries offer an odd inversion in creed and art. Early creeds focus on Jesus's beginnings and endings, "skipping right from 'born of the Virgin Mary' to 'suffered under Pontius Pilate,' with no mention of Jesus's life and work, while the art appears to take an opposite tack" (Jensen 2000, 131–32). Perhaps the frequent Christian use [End Page 184] of images of anchors and ship's masts, or of the chi-rho sign, served as their image of the cross. Perhaps the reality the scriptures described was too gruesome to easily picture, too readily ridiculed by outsiders, or too awesome and mysterious to present directly. Perhaps, in a persecuted and at times martyred church, such a sign would be realistically terrifying to many and dangerously seductive to some.That the... (shrink)

Forgiveness is a hallmark teaching within monotheistic religions. This Element introduces the topic in three ways. First, it considers the extent to which forgiveness is specific to or constituted by monotheistic beliefs, by a comparison with analogous teaching and practice in Buddhism. Second, the most extensive section explores the grammar of forgiveness shared across the Abrahamic traditions of Judaism, Christianity and Islam – elements of repentance, intercession, and eschatological deferral. This section identifies some of the divergent tendencies or emphases on (...) this topic among those traditions. A third section addresses the role of forgiveness and monotheistic religions in human cultural evolution and the emergence of eusociality. The aim is for the reader to gain an introductory view of monotheism and forgiveness from a comparative religious example, from an internal examination of Abrahamic traditions, and from a developmental, secular perspective. (shrink)

Nicholas Rescher has advanced an account of philosophy which he calls orientational pluralism. It addresses the tension in philosophy between commitment to rational argument and the enduring lack of resolution of major issues. This article suggests that Rescher’s view can be fruitfully transposed into a discussion of religious pluralism, illuminating the status of theories about religious diversity and providing grounds both for recognizing the legitimacy of diverse religious convictions and making a consistent argument in favor of one’s own.

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)