Summary: Green begins his chapter by outlining two of the main ways that he sees popular Atonement Theology spreading. The first is the popular “Penal Substitution” doctrine, and the other is a disregard for the doctrine of Atonement Theology altogether. He then begins to form an argument against “Penal Substitution” by attacking the concept of God as the subject of the cross and Jesus as the object, an image that, to Green, paints God as an abusive father. In the same line of thinking, he debates the literal take that most Christians adopt when it comes to the New Testament metaphors. He argues that we as Christians cannot found our entire Atonement Theology on these metaphors, as their descriptive capabilities can only go so far before they break down. He then offers an alternative to the “Penal Substitution” doctrine so popularized by the literal interpretation of these aforementioned …show more content…
I think that, while it is dangerous to wrap one’s entire atonement theology around, it is simply an easy way to grasp a particular aspect of atonement. Green would argue, and I agree, that each metaphor in the New Testament, rather than trying to encompass the whole of atonement, is merely shedding light on one aspect of it. Now, I do not think that most Christians whose beliefs are in line with the Penal Substitution Doctrine are aware of the inferences of said doctrine. For the most part I am sure that they are simply taking the analogy of the New Testament at its word and not at all pondering the consequences of said belief. I also agree with Green that we should be searching for and modeling new metaphors for our current culture. That said, however, I believe that the metaphors used in the New Testament are more than sufficient for an accurate understanding for atonement, as they come from the infallible word of
The washing of sins with one’s blood in trade of embracing the love of God further adds to the ethical appeals and desire to seek forgiveness. Eliminating his previous condescending approach on sinners and their actions, Edwards encourages the escape from fear and guilt into the “rejoicing and singing for joy...” (129). Edwards’s shift in tone intricately leads the audience to desire completion of his
(Booker 690). 3. What recurring metaphor does he use, and what does it
Edwards uses strong imagery to explicate an ominous tone through his preaching. The frightening tone that the speaker has set is portrayed by his use of harsh words. In the beginning Edwards states, “Their foot shall slide in due time... God will not hold them up in these slippery places any longer, but will let them go.” In this short warning the speaker is telling the audience that humans are sooner or later going to go to hell.
Take, for example, Edward’s relation between the wrath and a bow and arrow; again mentioning that it is only held back by God’s pleasure and can be released at any time, conveying to the listener that they can be struck at any time if they continue on the sinful path they are on. Another example is his comparison between great rivers behind a flood gate and God’s wrath; this paints an image in the listener’s mind of the amount of power that can build against someone due to the continuation of sin. “If God should only withdraw his hand from the flood gate, it would immediately fly open, and the fiery floods of the fierceness and wrath of God would rush forth….” These pictures that are painted throughout the sermon allow the powerful forces at hand to have a visual image to better relay how terrifying God’s wrath can be towards sinners. Words don’t always make a difference, but a picture can make the words have a reality to
He comes to terms at the end, saying that “sin was what you took and didn’t give back.” This literary work is told through the use of several rhetorical devices, including imagery, symbolism, and
I came into this village like a bridegroom to his beloved, bearing gifts of high religion; the very crowns of holy law I brought, and what I touched with my bright confidence, it died; and where I turned the eye of my great faith, blood flowed up. Beware, Goody Proctor---cleave to no faith when faith brings blood. It is mistaken law that leads you to sacrifice. Life, woman, life is God’s most precious gift; no principle, however glorious, may justify the taking of it. I beg you, woman, prevail upon your husband to confess.
The current culture is selfish to the point of obsession. Even Christians have turned their focus from the loving aspects of Christ in favor of the convicting, harsh aspects of God as the judge. Edmundson writes that even Christians will indulge an individualist view when pressure is
Sinners in the Hands of an Angry God, is a Puritan sermon from the eighteenth century during the Great Awakening. During this time, Puritans had strayed from the church due to the church’s strict guidelines and regulations and begun to embrace more secular thought. Sinners in the Hands of an Angry God, was written to motivate people to join the newly refined church that embraced these secular thoughts. Jonathan Edwards uses rhetorical devices throughout his sermon to show God’s wrath on sinners and to instill the fear of God in Puritans. Jonathan Edward’s was a well respected clergyman of eighteenth century New England.
Aarushi Bellani Ms. Kanika Dang Thesis Paper 8th November 2015 Portrayal of Sin & Atonement in Khaled Hosseini’s ‘The Kite Runner’ “Our English word “atonement” explains well the theology behind such restoration, for it suggests that God and humanity can relationally be “at one” again,” suggests Ed Stetzer in his blog on Christianity & the Old Testament. This concept of sin and atonement can be seen to occur frequently in the novel ‘The Kite Runner’ by Khaled Hosseini through the course of the protagonist, Amir’s life.
The victimization of fears and securities is a main weapon in the belt of those who wish to lead and conquer. This is proved when in “Sinners in the Hands of an Angry God”, Edwards uses dark imagery and tone, telling the congregation, “O, Sinner! Consider the fearful danger you are in... You hang by a slender thread, with the flames of divine wrath flashing about it” (156).
Cone’s theological project was similar to the work of liberation theologians in Latin America as they all viewed the Gospels through the lens of the crucified Christ and the bruised, battered, and crushed people that the Messiah identified with. Black theology contends that it is only by taking on the perspective of the black church – and the marginalized in general – that Christians can gain a proper understanding of the character and purposes of God and the work of Jesus Christ. Plantinga notes that Cone wanted “to stress the connection between black oppression and Christian faith in an unmistakable way,” which led Cone to make the provocative “claim that ‘God is black,’” and not literally black in terms of skin color or ethnicity but black in the sense of standing in solidarity with the oppressed. The unpleasant truth is that many of the white standard bearers for the Christian faith have been sending the message, either implicitly or explicitly, that God is white, I mean just look at stained glass windows in cathedrals or religious artwork of the past 500 years that has reinforced God’s unbearable whiteness of being. Cone forcefully argues that this idolatrous image of God needed to be broken to pieces in a similar manner to the iconoclasts who smashed to bits what they deemed to be idolatrous depictions of God in the Middle Ages
In Cesar Vallejo’s poem, “Los Heraldos de Negros”, in English called “The Black Heralds”, themes of God, children, love, and tragic consciousness emerge. My aim here is to examine another important source of his meaning, which is how the speaker sees God’s role in his encounters with life’s struggles. In the poem, a hateful God replaces a merciful God. The nature of this hateful God poses as a savior but instead of being helpful, or being resurrected to save humankind, he poses as a false or fake entity, which confuses and frustrates the speaker. Vallejo depicts God as hateful instead of merciful, because the speaker challenges and questions God’s methods.
Christianity has always been subjective and ambiguous, which allows for theories and speculation to develop regarding the religion’s values and characteristics. A key matter in theology seeks to understand those values and to identify a model of living that guides people away from corruption to remain in God’s image. Athanasius of Alexandria’s On the Incarnation and Friedrich Nietzsche’s The Anti-Christ address this issue with viewpoints that directly contradict each other. Athanasius examines the Incarnation to defend his position that natural human desires corrupt mankind and suggests there is nothing to prevent evil and sin other than God’s salvation while Nietzsche asserts that corruption occurs from a loss of instinctive nature and proposes
This essay will attempt to critically analyse the significance of scapegoating in “Sula” by looking at important aspects such as setting, time period, characters, and the relationship that exists between the individual and the community – from both literary and psychological perspectives. In order to comprehend exactly why and how the process of scapegoating occurs, a clear definition of the term and the relevance thereof must first be established. The Old Testament of the Bible – Leviticus 16 – first applies the term when the sins of the Israelites are cast upon a literal goat. The goat is afterwards driven into the desert to perish and, in so doing, absolve the Israelites of their sins.
The Origin and Meaning of a Pauline Metaphor. Michigan: William B. Eardmans Publishing Company. Tullock J. & McEntire, M. (2012). The Old Testament Story (9th Ed.). Indiana: Pearson Learning.