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In the early sixth-century eastern Roman empire, anti-Chalcedonian leaders Severus of Antioch and Julian of Halicarnassus debated the nature of Jesuss body: Was it corruptible prior to its resurrection from the dead? Viewing the controversy in light of late antiquity's multiple images of the ';body of Christ,' Yonatan Moss reveals the underlying political, ritual, and cultural stakes and the long-lasting effects of this fateful theological debate. Incorruptible Bodies combines sophisticated historical methods with philological rigor and theological precision, bringing to light an important chapter in the history of Christianity.

Late antiquity was a perilous time for children, who were often the first victims of economic crisis, war, and disease. They had a one in three chance of dying before their first birthday, with as many as half dying before age ten. Christian writers accordingly sought to speak to the experience of bereavement and to provide cultural scripts for parents who had lost a child. These late ancient writers turned to characters like Eve and Sarah, Job and Jephthah as models for grieving, for confronting or submitting to the divine. Jephthah's Daughter, Sarah's Son traces the stories these writers crafted and the ways in which they shaped the lived experience of familial bereavement in ancient Christianity. A compelling social history that conveys the emotional lives of people in the late ancient world, Jephthah's Daughter, Sarah's Son is a powerful portrait of mourning that extends beyond antiquity, even to the present day.

Melania the Elder and her granddaughter Melania the Younger were major figures in early Christian history, using their wealth, status, and forceful personalities to shape the development of nearly every aspect of the religion we now know as Christianity. This volume examines their influence on late antique Christianity.

Epiphanius, Bishop of Constantia on Cyprus from 367 to 403 C.E., was incredibly influential in the last decades of the fourth century. Whereas his major surviving text (the Panarion, an encyclopedia of heresies) is studied for lost sources, Epiphanius himself is often dismissed as an anti-intellectual eccentric, a marginal figure of late antiquity. In this book, Andrew Jacobs moves Epiphanius from the margin back toward the center and proposes we view major cultural themes of late antiquity in a new light altogether. Through an examination of the key cultural concepts of celebrity, conversion, discipline, scripture, and salvation, Jacobs shifts our understanding of late antiquity from a transformational period open to new ideas and peoples toward a Christian Empire that posited a troubling, but ever-present, otherness at the center of its cultural production.

"Known as the "Father of Church History," Eusebius was bishop of Caesarea in Palestine and the leading Christian scholar of his day. His Ecclesiastical History is an irreplaceable chronicle of Christianity's early development, from its origin in Judaism, through two and a half centuries of illegality and occasional persecution, into a new era of tolerance and favor under the Emperor Constantine. In this book, Michael J. Hollerich recovers the reception of this text across time. As he shows, Eusebius adapted classical historical writing for a new "nation," the Christians, with a distinctive theo-political vision. Eusebius's book left its mark on Christian historical writing from late antiquity to the early modern period, across linguistic, cultural, political, and religious boundaries, until its encounter with modern historicism and postmodernism. Making Christian History demonstrates Eusebius's vast influence throughout history, not simply in shaping Christian culture but also as his work itself has become contested territory as that culture has been constantly reevaluated, reformed, and resisted over the past 1,700 years"--

"From Idols to Icons is a sweeping work that tackles diverse aspects of image worship, including theological issues, the perception of the senses, and the various meanings of viewing. The question, in Robin Jensen's view, is not really about whether images were acceptable or powerful but about whose images were to be tolerated. The result is an original and well-documented study that brings together the views of Christian and non-Christian authors, apologists, philosophers, and sophists as well."--Brouria Bitton-Ashkelony, Martin Buber Professor of Comparative Religion, Hebrew University of Jerusalem "This book is set to be a standard work in Christian art history, theological aesthetics, and the cultural history of late antiquity. A rarity in the field, Jensen's account is attentive to both the material culture that is early Christian art and the theological lenses through which it was and is understood. A masterful achievement." --Christopher Beeley, Jack and Barbara Bovender Professor of Theology, Duke University