Peter Rollins – författare

American history has always been an irresistible source of inspiration for filmmakers, and today, for good or ill, most Americans'sense of the past likely comes more from Hollywood than from the works of historians. In important films such as The Birth of a Nation (1915), Roots (1977), Apocalypse Now (1979), and Saving Private Ryan (1998), how much is entertainment and how much is rooted in historical fact? In The Columbia Companion to American History on Film, more than seventy scholars consider the gap between history and Hollywood. They examine how filmmakers have presented and interpreted the most important events, topics, eras, and figures in the American past, often comparing the film versions of events with the interpretations of the best historians who have explored the topic. Divided into eight broad categories-Eras; Wars and Other Major Events; Notable People; Groups; Institutions and Movements; Places; Themes and Topics; and Myths and Heroes-the volume features extensive cross-references, a filmography (of discussed and relevant films), notes, and a bibliography of selected historical works on each subject.The Columbia Companion to American History on Film is also an important resource for teachers, with extensive information for research or for course development appropriate for both high school and college students. Though each essay reflects the unique body of film and print works covering the subject at hand, every essay addresses several fundamental questions: * What are the key films on this topic? * What sources did the filmmaker use, and how did the film deviate (or remain true to) its sources? * How have film interpretations of a particular historical topic changed, and what sorts of factors-technological, social, political, historiographical-have affected their evolution? * Have filmmakers altered the historical record with a view to enhancing drama or to enhance the "truth" of their putative message?

American history has always been an irresistible source of inspiration for filmmakers, and today, for good or ill, most Americans'sense of the past likely comes more from Hollywood than from the works of historians. In important films such as The Birth of a Nation (1915), Roots (1977), Apocalypse Now (1979), and Saving Private Ryan (1998), how much is entertainment and how much is rooted in historical fact? In The Columbia Companion to American History on Film, more than seventy scholars consider the gap between history and Hollywood. They examine how filmmakers have presented and interpreted the most important events, topics, eras, and figures in the American past, often comparing the film versions of events with the interpretations of the best historians who have explored the topic. Divided into eight broad categories-Eras; Wars and Other Major Events; Notable People; Groups; Institutions and Movements; Places; Themes and Topics; and Myths and Heroes-the volume features extensive cross-references, a filmography (of discussed and relevant films), notes, and a bibliography of selected historical works on each subject.The Columbia Companion to American History on Film is also an important resource for teachers, with extensive information for research or for course development appropriate for both high school and college students. Though each essay reflects the unique body of film and print works covering the subject at hand, every essay addresses several fundamental questions: * What are the key films on this topic? * What sources did the filmmaker use, and how did the film deviate (or remain true to) its sources? * How have film interpretations of a particular historical topic changed, and what sorts of factors-technological, social, political, historiographical-have affected their evolution? * Have filmmakers altered the historical record with a view to enhancing drama or to enhance the "truth" of their putative message?

With a sensitivity to the Christian tradition and a rich understanding of postmodern thought, Peter Rollins argues that the movement known as ‘emerging church’ offers a singular, unprecedented message of transformation that has the potential to revolutionize the theological and moral architecture of the Western church. Keeping this in mind, How (Not) to Speak of God sets out to investigate the theory and praxis of this contemporary expression of faith via an exploration that is firmly anchored in the liturgical practice of the widely acclaimed post-secular project Ikon. In so doing, Peter Rollins not only offers a clear analysis of this embryonic movement, but also provides key resources for those actively involved in developing these communities around the world. ‘This book brings together Christian mysticism, postmodern philosophy, and the practices and liturgies of an alternative worship community trying to make sense of Christianity in a postmodern environment. The results are stunning - original, provocative, and creative.’Jonny Baker‘Here in pregnant bud is the rose, the emerging new configuration, of a Christianity that is neither Roman nor Protestant, neither Eastern nor monastic; but rather is the re-formation of all of them. Here, in pregnant bud, is third millennium Christendom.’Phyllis Tickle‘I am a raving fan of the book you are holding. I loved reading it. I have already begun widely recommending it. Reading it did good for my mind and my soul. It helped me to understand my own spiritual journey more clearly, and it gave me a sense of context for the work I’m involved in. In fact, I would say this is one of the two or three most rewarding books of theology I have read in ten years.’Brian McLaren

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In this incendiary new work, philosopher-theologian Peter Rollins proclaims that the Christian faith is not primarily concerned with questions regarding life after death but with the possibility of life before death.In order to unearth this truth, Rollins prescribes a radical and wholesale critique of contemporary Christianity that he calls pyro-theology. It is only as we submit our spiritual practices, religious rituals, and dogmatic affirmations to the flames of fearless interrogation that we come into contact with the reality that Christianity is in the business of transforming our world rather than offering a way of interpreting or escaping it. Belief in the Resurrection means but one thing: participation in an Insurrection.

In contrast to the usual answers concerning what the Good News might be, incendiary philosopher-theologian Peter Rollins suggests an alternative, radical definition: you can't be satisfied, life is difficult, and you don't know the secret. Arguing that God has traditionally been thought of as a type of product that will make you whole, remove your suffering and give you the truth, Rollins contrasts this with an approach to faith that invites us to embrace suffering, face up to our unknowing and fully accept the difficulties of existence.

A bold and subversive vision of faith from the front line of theological innovation

Pete Rollins is inspired by the fact that all language fails when it comes to describing God. This, he says, is what nourishes poets and pilgrims alike as they try to capture, enact and incarnate truth. Such truth can only be lived - it cannot be reduced to mere words. From this starting point, he revisits the parables of Jesus - odd and unexpected stories that set hearers and readers spinning off course from what is safe and familiar towards some completely new kind of understanding. Parables are subversive; they never attempt to make faith simplistic. A parable does not primarily provide information about our world. Rather, if we allow it to do its work within us, it will change our world-breaking it - and us - open to wholly new possibilities. In the spirit of Jesus' parables, Peter offers some transformative stories of his own.