Edwin Hatch provided a colourful portrait of the religious world to which Justin Martyr belonged: The main subject-matter of ... literary education [amongst the pagans] was the poets. ... They were read as we read the Bible. They were committed to memory. The minds of men were saturated with them. A quotation from Homer or from a tragic poet was apposite on all occasions and in every kind of society (The Influence of Greek Ideas on Christianity, 1957). So when some of these pagans converted to Christianity in Justin's day, is it reasonable to assume that they simply

By the mid-second century Christian writers were engaging in debates with educated audiences from non-Jewish Graeco-Roman cultural backgrounds. A remarkable feature of some of the texts from this period is how extensively they refer to the Jewish scriptures, even though those scriptures were unfamiliar to non-Jewish Graeco-Romans. In Worshipping a Crucified Man, Jeremy Hudson explores for the first time why this should have been so by examining three works by Christian converts originally educated in Graeco-Roman traditions: Justin Martyr’s First Apology, Tatian’s Oratio and Theophilus of Antioch’s Ad Autolycum. Hudson considers their literary strategies, their use of quotations and allusions and how they present the Jewish scriptures; all against the background of the Graeco-Roman literary culture familiar to both authors and audiences. The scriptures are presented as a critically defining feature of Christianity, instrumental in shaping the way the new religion presented itself, as it strove to engage with, and challenge, the cultural traditions of the Graeco-Roman world.

This volume offers an accessible investigation of the Naassene discourse embedded in the anonymous Refutation of All Heresies (completed about 222 CE), in order to understand the theology and ritual life of the Naassene Christian movement in the late second and early third centuries CE. The work provides basic data on the date, genre, and provenance of the Naassene discourse as summarized by the author of the Refutation (or Refutator). It also offers an analysis of the Refutator’s sources and working methods, an analysis which allows for a full reconstruction of the original Naassene discourse. The book then turns to major aspects of Naassene Christianity: its intense engagement with Hellenic myth and “mysteries,” its biblical sources, its cosmopolitan hermeneutics, its snake symbology, as well as its distinctive approach to baptism, hymns, and celibacy. A concluding chapter outlines all we can securely reconstruct about the Naassene Christian movement in terms of its social identity and place in the larger field of early Christianity and ancient Mediterranean religions more broadly. The Naassenes: Exploring an Early Christian Identity is suitable for students, scholars, and general readers interested in Early Christianity, Gnostic and Nag Hammadi Studies, Classics, and Ancient Philosophy, as well as hermeneutical issues like allegory and intertextuality.

Is it merely an accident of English etymology that 'imagination' is cognate with 'image'? Despite the iconoclasm shared to a greater or lesser extent by all Abrahamic faiths, theism tends to assert a link between beauty, goodness and truth, all of which are viewed as Divine attributes. Douglas Hedley argues that religious ideas can be presented in a sensory form, especially in aesthetic works. Drawing explicitly on a Platonic metaphysics of the image as a bearer of transcendence, The Iconic Imagination shows the singular capacity and power of images to represent the transcendent in the traditions of Christianity, Judaism, Hinduism and Islam. In opposition to cold abstraction and narrow asceticism, Hedley shows that the image furnishes a vision of the eternal through the visible and temporal.

Christian Teachers in Second-Century Rome situates second-century Christian teachers such as Marcion, Justin, Valentinus and others in the social and intellectual context of the Roman urban environment, placing their teaching and textual activity in the midst of physicians, philosophers, and other religious experts.

From the apparently simple adaptation of a text into film, theatre or a new literary work, to the more complex appropriation of style or meaning, it is arguable that all texts are somehow connected to a network of existing texts and art forms. In this new edition Adaptation and Appropriation explores: multiple definitions and practices of adaptation and appropriation the cultural and aesthetic politics behind the impulse to adapt the global and local dimensions of adaptation the impact of new digital technologies on ideas of making, originality and customization diverse ways in which contemporary literature, theatre, television and film adapt, revise and reimagine other works of art the impact on adaptation and appropriation of theoretical movements, including structuralism, post-structuralism, postcolonialism, postmodernism, feminism and gender studies the appropriation across time and across cultures of specific canonical texts, by Shakespeare, Dickens, and others, but also of literary archetypes such as myth or fairy tale. Ranging across genres and harnessing concepts from fields as diverse as musicology and the natural sciences, this volume brings clarity to the complex debates around adaptation and appropriation, offering a much-needed resource for those studying literature, film, media or culture.

In 1975, a group of Dutch and British scholars published a conference volume of collected essays entitled "Some Political Mythologies." That conference sought to examine the political myth as an object of historical study, particularly in the context of the tumultuous and exceptional history of the Low Countries. Thirty years later, a more diverse group of scholars gathered to re-examine the history of Dutch myth-making in light of developments in theoretical and methodological approaches to understanding the role of myths in national identity, moral geography, and community formation. The results of their efforts appear in this volume, "Myth in History: History in Myth." The essays cover developments in history, anthropology, cartography, philosophy, art history, and literature as they pertain to how the Dutch historically perceived these myths and how the myths have been treated by previous generations of historians.