Bøker av Richard Norton

This book is a collection of essays on the history of art. The authors discuss the work of several notable artists, including Bernini, Velazquez, and Vermeer. They also explore various themes and ideas in the history of art, such as the role of emotion and the relationship between art and politics. The essays are well-written and provide a valuable resource for anyone interested in art history.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Julian of Norwich's Revelations of Divine Love grapples with the same fundamental question that has vexed philosophers and theologians since the advent of monotheistic religion, and continues as a barrier to belief for many today. Namely, if God is so good, how can natural disaster, genocide, trauma - and my present suffering - occur? Historically, there have been two apparently very different approaches to the problem: the pastoral, or practical, on the one hand and the systematic on the other. However, Richard Norton suggests that these two lines of thought may not be as separate as they seem, and may indeed be dependent on one another for their cohesion. Drawing on Julian's medieval experience of personal and population-wide suffering, alongside that of more recent theologians such as Dorothy Solle and Jurgen Moltmann, Norton constructs a compassionate model of theodicy that can be of use to both pastoral and systematic theologians. Throughout, he remains sensitive to the raw atrocity of evil, while preserving a vision of God as the one who ensures that all shall be well.

Julian of Norwich¿s Revelations of Divine Love grapples with the same fundamental question that has vexed philosophers and theologians since the advent of monotheistic religion, and continues as a barrier to belief for many today. Namely, if God is so good, how can natural disaster, genocide, trauma - and my present suffering - occur? Historically, there have been two apparently very different approaches to the problem: the pastoral, or practical, on the one hand and the systematic on the other. Richard Norton, however, suggests that these two lines of thought may not be as separate as they seem, and may indeed be dependent on one another for their cohesion. Drawing on Julian¿s medieval experience of personal and population-wide suffering, alongside that of more recent theologians such as Dorothy Solle and Jürgen Moltmann, Norton constructs a compassionate model of theodicy that can be of use to both pastoral and systematic theologians. Throughout, he remains sensitive to the raw atrocity of evil, while preserving a vision of God as the one who ensures that all shall be well.

A discussion of the works and school of Andokides, a famous Greek vase-painter of the 6th century active in the transitional period from black to red figure decoration.