By Edward Schillebeeckx
This sequel to the overdue Fr. Schillebeeckx's ebook, "Jesus: and test in Christology" is extraodinarily wealthy in its explication of the Christian event of the intensity and breadth of the salvific fact of Jesus Christ. His dialogue of the "seven anthropological coordinates" are necessary to knowing the all-inclusive nature of God's saving paintings in Jesus Christ. His dialogue at the secret of discomfort displays his deep crisis for addressing the questions raised by means of the political theologies of J.B. Metz, S.J. and Jurgen Moltmann in Europe and the liberation theologies popping out of Latin the United States, Asia,and Black and the Feminist hobbies.
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Extra resources for Christ: The Experience of Jesus as Lord
Especially through the people’s endless complaining. The repeated refrain, ‘Moses has said unto you, but I say unto you’ indicates that when he promulgates the Law a second time (Matt. 5:2; Deut. 18:18), he takes it to a new level. Jesus Christ is also the one of whom Moses wrote. Moses himself attests that he wrote about Jesus in all his texts (John 5:46). In John 1:45, Philip tells Nathaniel that he has literally found ‘the one of whom Moses wrote in the law and the prophets’. Paul acknowledges that Christ was at work in the Exodus miracles: ‘And did all drink the same spiritual drink: for they drank of that spiritual Rock that followed them: and that Rock was Christ’ (1 Cor.
In either case it would seem that original beauty, considered as beauty, is peripheral to the Bible’s own concerns. Paradoxically, the same cannot be said of the ugliness in the Bible, which is self-aware in a way the beauties are not. Ugliness here refers not to depiction of abhorrent acts, but to provocatively uncouth and repellent language, including Hebrew vulgarisms—even those issuing from the mouth of God—so coarse as to be judged unpronounceable by the Masoretes, who inserted a euphemistic substitute (qere) in the margin of the Bible manuscripts to be voiced out loud in place of the obscenity recorded on the sacred page.
This displays a crucified figure with the head of a donkey, with a human figure to the side of the cross, accompanied by a Greek inscription reading ‘Alexamenos worships [his] God’. The intentions of the original captioner (and, if different, of the image-maker as well) were almost certainly derisive of the (p. 14) worshiper and his cult. Yet this graffito (probably dating to the early third century) is one Page 6 of 15 of the earliest images of the crucifixion of Christ, mockery notwithstanding, and for that reason has become cherished by Christians.