Richard Harries – författare

The evil of the holocaust demands a radical rethink of the traditional Christian understanding of Judaism. This does not mean jettisoning Christianity's deepest convictions in order to make it conform to Judaism. Rather, Richard Harries develops the work of recent Jewish scholarship to discern resonances between central Christian and Jewish beliefs.This thought-provoking book offers fresh approaches to contentious and sensitive issues. A key chapter on the nature of forgiveness is sympathetic to the Jewish charge that Christians talk much too easily about forgiveness. Another chapter on suffering in Judaism and Christianity rejects the usual stereotypes and argues for important common ground, for example in the idea that God suffers in the suffering of his people. There are also chapters on the state of Israel and the place of Jerusalem in Christian and Jewish thought.Richard Harries argues that the basic covenant is not with either Judaism or Christianity but with humanity. These, like other religions, are different, distinctive voices in response to God's primal affirmation of human life, which for Christians is achieved and given in the life, death, and resurrection of Jesus Christ.In the light of this the author maintains - controversially - that Christians should not be trying to convert Jews to Christianity. Rather Jews and Christians should stand together and build on the great amount they have in common to work together for a better world.

When Barack Obama praised the writings of philosopher theologian Reinhold Niebuhr in the run up to the 2008 US Presidential Elections, he joined a long line of top politicians who closely engaged with Niebuhr's ideas, including Tony Benn, Jimmy Carter, Martin Luther King Jr. and Dennis Healey. Beginning with his early ministry amongst industrial workers in early twentieth century Detroit, Niebuhr displayed a passionate commitment to social justice that infused his life's work. Rigorously championing 'Christian Realism' he sought a practically orientated intellectual engagement with the political challenges of his day. His ideas on International Relations have also helped to shape debate amongst leading academic thinkers and policy makers. In both Christian and secular contexts he continues to attract new readers today.In this timely re-evaluation both critics and disciples of Niebuhr's work reflect on his notable contribution to Christian social ethics, the Christian doctrine of humanity, and the engagement of Christian thought with contemporary politics. The authors bring a wide range of expertise from both sides of the Atlantic, indicating how a re-evaluation of Niebuhr's thought can help inform contemporary debates on Christian social ethics and other wider theological issues.

W. H. Auden, T. S. Eliot, William Golding, Elizabeth Jennings, C. S. Lewis, Flannery O'Connor, Stevie Smith . . . These are some of the great poets and novelists whose struggles with faith find expression in their works, and who demonstrate the fascinatingly different forms that faith can take in different times and places.Richard Harries considers the work of twenty of these writers, painting vivid pictures of their lives and times. He also provides numerous critically sympathetic insights into the spiritual dimension of their writings.The result is a book for readers of all religious persuasions, especially those who are fascinated by the ways in which faith is refracted through the lens of great poetry and fiction.

Over the centuries some of the world's greatest painters have explored and expressed their faith in God through their art. Here, Richard Harries invites you to reflect with him on thirty such artists, and to see how their paintings illuminate important aspects of Christian faith and teaching.Encompassing masterpieces by Rembrandt, Leonardo, Titian and Caravaggio as well as modern works by Chagall, Spencer and Rouault, this book presents the essentials of the faith in a way that will move the reader to respond with heart as well as head.

Austin Farrer is often called the one genius the Church of England produced in the 20th Century. His innovative ideas crossed a host of theological disciplines. Assessing his continuing importance and introducing him to a new generation of readers, Austin Farrer for Today brings together a stellar collection of writers to re?ect on Farrer’s contribution to biblical theology, philosophy, language, doctrine, prayer and preaching. Chapters include: •Rowan Williams on Farrer as a doctrinal theologian •Morwenna Ludlow on Farrer's language and symbolism •Jane Shaw on Farrer as preacher •John Barton, on typology in Farrer

Abraham's Children brings together essays by leading scholars of each faith to address key issues for the faiths and to collaboratively identify common ground and pose challenges for the future. The book will inspire readers in the process of inter-faith dialogue, contribute clearly to vital religious issues of contemporary world concern and help readers to understand faiths that are different from their own.

Abraham's Children brings together essays by leading scholars of each faith to address key issues for the faiths and to collaboratively identify common ground and pose challenges for the future. The book will inspire readers in the process of inter-faith dialogue, contribute clearly to vital religious issues of contemporary world concern and help readers to understand faiths that are different from their own.

Jesus was not depicted on the cross until the early fifth century. Since then this scene has been painted or carved in sharply differing ways. With the aid of over thirty full-page plates, The Passion in Art explores the historical contexts and theologies that led to such differing depictions. Because the first Christians saw the Crucifixion and Resurrection of Jesus as different aspects of a unified victory over sin and death, scenes of the Passion are juxtaposed with some of the Resurrection, which again are highly varied in what they do and do not show. This is the first book to consider the Passion as portrayed in the whole sweep of Christian history. Each picture is considered both from the point of view of its context and its theological standpoint. Spanning the centuries, the images reproduced and discussed include: scenes from the Passion of Christ in the Catacombs of Domitilla, mosaics in Ravenna, the Rabbula Crucifixion and Resurrection, the Crucifixion Plaque from Metz, the Gero Crucifix, Cimabue's Crucifix, Giotto's Noli me Tangere, Piero della Francesca's Resurrection, the Isenheim altarpiece, Caravaggio's Supper at Emmaus, Rembrandt's Christ on the Cross, Chagall's White Crucifixion, contemporary paintings by Stanley Spencer, Graham Sutherland, Nicholas Mynheer, and many more works of great acclaim.

The Image of Christ in Modern Art explores the challenges presented by the radical and rapid changes of artistic style in the 20th century to artists who wished to relate to traditional Christian imagery. In the 1930s David Jones said that he and his contemporaries were acutely conscious of ’the break’, by which he meant the fragmentation and loss of a once widely shared Christian narrative and set of images. In this highly illustrated book, Richard Harries looks at some of the artists associated with the birth of modernism such as Epstein and Rouault as well as those with a highly distinctive understanding of religion such as Chagall and Stanley Spencer. He discusses the revival of confidence associated with the rebuilding of Coventry Cathedral after World War II and the commissioning of work by artists like Henry Moore, Graham Sutherland and John Piper before looking at the very testing last quarter of the 20th century. He shows how here, and even more in our own time, fresh and important visual interpretations of Christ have been created both by well known and less well known artists. In conclusion he suggests that the modern movement in art has turned out to be a friend, not a foe of Christian art.Through a wide and beautiful range of images and insightful text, Harries explores the continuing challenge, present from the beginning of Christian art, as to how that which is visual can in some way indicate the transcendent.

The Image of Christ in Modern Art explores the challenges presented by the radical and rapid changes of artistic style in the 20th century to artists who wished to relate to traditional Christian imagery. In the 1930s David Jones said that he and his contemporaries were acutely conscious of ’the break’, by which he meant the fragmentation and loss of a once widely shared Christian narrative and set of images. In this highly illustrated book, Richard Harries looks at some of the artists associated with the birth of modernism such as Epstein and Rouault as well as those with a highly distinctive understanding of religion such as Chagall and Stanley Spencer. He discusses the revival of confidence associated with the rebuilding of Coventry Cathedral after World War II and the commissioning of work by artists like Henry Moore, Graham Sutherland and John Piper before looking at the very testing last quarter of the 20th century. He shows how here, and even more in our own time, fresh and important visual interpretations of Christ have been created both by well known and less well known artists. In conclusion he suggests that the modern movement in art has turned out to be a friend, not a foe of Christian art.Through a wide and beautiful range of images and insightful text, Harries explores the continuing challenge, present from the beginning of Christian art, as to how that which is visual can in some way indicate the transcendent.

Richard Harries was serving as a soldier in Germany when he suddenly had an overwhelming sense that God was calling him to be ordained. He had virtually no religious background, but like Martin Luther, he could do no other. The Shaping of a Soul is the story of a man who has engaged in some of the major issues of our time and who, for fifty years, has been a much loved voice on 'Thought for the Day' in the Today programme. Bishop of Oxford from 1987 to 2006, Harries was made a Life Peer on his retirement and remains active in the House of Lords as Lord Harries of Pentregarth. In a life repeatedly taken by surprise, he tells how he is still able to retain his faith even in our present highly secular and sceptical society.