The keystone of Christianity is Jesus’s physical, bodily resurrection. Present-day scholars can be significantly challenged as they forage through voluminous documents on the resurrection of Jesus. The literature measures well over seven thousand sources in English-language books alone. This makes finding specific sources that are most relevant for specific scholarly purposes an arduous task. Even when a specific book is relevant, finding the parts of the book that are most relevant to the resurrection rather than other topics often requires additional effort. A Thematic Access-Oriented Bibliography of Jesus’s Resurrection addresses these challenges in several ways. First, the bibliography organizes more than seven thousand English sources into twelve main categories and then thirty-four subcategories, which are designed to help you find the most relevant literature quickly and efficiently. Embedded are pro and con arguments which support efficient access through brief annotations and then annotate the diversity and complexity of the field of religion by including sources that represent a diverse range of views: theistic (e.g., Christian, Jewish, Muslim, etc.), agnostic, and nontheistic. The objective of this bibliography is to provide convenient access to relevant sources from a variety of perspectives, allowing you to browse or find the one source accurately and with ease.

In this lavishly illustrated book, David Morgan surveys the visual culture that shaped American Protestantism in the nineteenth and twentieth centuries--a vast record of images in illustrated bibles, Christian almanacs, children's literature, popular religious books, charts, broadsides, Sunday school cards, illuminated devotional items, tracts, chromos, and engravings. His purpose is to explain the rise of these images, their appearance and subject matter, how they were understood by believers, the uses to which they were put, and what their relation was to technological innovations, commerce, and the cultural politics of Protestantism. His overarching argument is that the role of images in American Protestantism greatly expanded and developed during this period.