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Vol. 4 contains cumulative table of cases reported and citator.
In this book, Matthew Levering unites eschatologically charged biblical Christology with metaphysical and dogmatic Thomistic Christology, by highlighting the typological Christologies shared by Scripture, the Church Fathers, and Aquinas. Like the Church Fathers, Aquinas often reflected upon Jesus in typological terms (especially in his biblical commentaries), just as the New Testament does. Showing the connections between New Testament, Patristic, and Aquinas' own typological portraits of Jesus, Levering reveals how the eschatological Jesus of biblical scholarship can be integrated with Thomistic Christology. His study produces a fully contemporary Thomistic Christology that unites ressourcement and Thomistic modes of theological inquiry, thereby bridging two schools of contemporary theology that too often are imagined as rivals. Levering's book reflects and augments the current resurgence of Thomistic Christology as an ecumenical project of relevance to all Christians.
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One of the earliest Christian confessions—that Jesus is Messiah and Lord—has long been recognized throughout the New Testament. Joshua Jipp shows that the New Testament is in fact built upon this foundational messianic claim, and each of its primary compositions is a unique creative expansion of this common thread. Having made the same argument about the Pauline epistles in his previous book Christ Is King: Paul’s Royal Ideology, Jipp works methodically through the New Testament to show how the authors proclaim Jesus as the incarnate, crucified, and enthroned messiah of God. In the second section of this book, Jipp moves beyond exegesis toward larger theological questions, such as those of Christology, soteriology, ecclesiology, and eschatology, revealing the practical value of reading the Bible with an eye to its messianic vision. The Messianic Theology of the New Testament functions as an excellent introductory text, honoring the vigorous pluralism of the New Testament books while still addressing the obvious question: what makes these twenty-seven different compositions one unified testament?
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