This thesis takes as its point of departure the question "is there a connection between ordinary Swedish Christianity and the extreme forms of various examples?". As a way of concidering possible connections, a "normal" spiritual context in the Swedish setting is studied: the Christian magazine "Pilgrim. A magazine for spiritual guidance". The book presents an investigation of the magazine and its notion of spirituality over a period of twelve years (1994-2006). Questions that guide the investigation are: Which are the fundamental notions of spirituality in the magazine? How can someone be spiritual due to the magazine? Which are the bodily norms which are assumed when it comes to gender, sexuality, ethnicity and class? Which connections between the normal and the extreme in contemporary Swedish spirituality can an investigation of Pilgrim as an example of "ordinary" spirituality reveal? The work is carried out as a discursive reading of Pilgrim with the help of Michel Foucault and his notion of "discourse". Furthermore some of the insights from the feminist discussion on so called "intersectionality" are used to widen the methodological scope. More specifically, the magazine is approached as a single textual surface. After qualification of the rules of the discourse, they are applied to identify the discursive formation of Pilgrim. By analyzing the strategies which constitute spiritual guidance, the forms of spirituality (subject positions) that the magazine constructs are revealed. The way that social categories - gender, sexuality, ethinicity, class - are characterized in the magazine reinforce heteronormativity, orientalism and a class-structure. Through the magazine social categories function together with other vital categories in a way that the outcome is one and only construction of the ordinary subject: i.e. the western rich man as a spiritual subject. In conclusion this study suggest that ideas about spiritual growth that flourish in an ordinary Christian cultural and intellectual environment (exemplified by the magazine Pilgrim), like ideas of resistance against the postmodern world and society's superficiality, might have a structure that can be found also in more extreme Christian contexts, and, more importantly, as a part of the problematic of these extreme examples. The extreme resides in the ordinary, and the ordinary resides in the extreme. There seems to be an order of notions, of subjects and of bodies: the Order of Spirituality.

The overall purpose of this thesis is to illuminate and critically evaluate Christian theology of atonement and redemption, in order to contribute to contemporary theology of atonement and redemption. The purpose is reached through an analysis of the work of two contemporary feminist theologians; Daphne Hampson and Rita Nakashima Brock. Hampson has formulated a sharp post-Christian position. Brock has distinguished herself through her critique of the Christian concept of atonement and through her contributions to reconciliation and redemption. Both Daphne Hampson and Rita Nakashima Brock argue that Christian atonement-theology, primarily the so called objective model, is hurtful to children and victims of abuse and violence. They both argue that theological language is not innocent. At the same time, they illustrate broken relationships, sufferings, and problems they want to change, give theological interpretations of how that change is to take place and present methodologies on how to reach reconciliation between human beings and God as well as between human beings. In two steps I undertake a critical analysis of content and presuppositions in Daphne Hampson’s and Rita Nakashima Brock’s theologies of atonement and redemption. In the first step, I describe Hampson’s and Brock’s critique of Christian atonement-theology. I analyze their theological critique and theological construction in a model "from-transition-to". My critical analysis focuses especially on internal consistency. In the second part, the analysis of presuppositions, I explain basic principles upon which they shape their theology. The analysis is made up by the analytical concepts; theoretical arguments of knowledge, understandings of faith, and the position of the subject. I also analyze other essential concepts out of which gender is one. In the last chapter I present my own constructive contribution, structured by content and presuppositions. I argue that theology is both a critical and constructive discipline. In the content-response I discuss images of God, the tragic, the cross, and the hope. In the presuppositions-response I discuss the concept "space-in-between". In conclusion I propose that theology of atonement/redemption is shaped between post and Christian. I argue that space-in-between-perspectives are necessarily experimental and critical, a space on the border where marginalized voices are to be included.

This thesis categorises some characteristic features in the 20th century Lutheran theology, in order to create a picture of the Lutheran theology and Lutheran pre-understanding of life which leave its marks on Selma Lagerlöf as well as on other contemporary expressions of faith and worldviews. Four Lutheran figures of thought are examined as undercurrents in the discourse of the writings of Selma Lagerlöf. They are a) The understanding of Word and Faith, which includes the understanding of justification by faith. b) Faith in God as Creator and in his providence. c) The doctrine of vocatio and God's two regiments. d) The theology of the Cross that emphasises the descent of God and God's taking part in the human life. This investigation has shown that the epic of Lagerlöf can be read in terms of Lutheran theology. The religious roots of Selma Lagerlöf are often described as ”a nothing” - a traditional background, a friendly non-doctrinal piety, and so forth. But this inconspicuous and unconscious religious background has a content, namely the Lutheran faith in the culture and society in which she grew up. Some of the great novels such as The story of Gösta Berlings saga, Jerusalem and The wonderful adventures of Nils and some stories, sagas and legends are investigated. The study shows how the Lutheran understanding of life is expressed in these texts and their interpretation of the reality.

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I denna uppsats studeras den romersk-katolska teologen Hans Urs von Balthasars teologiska estetik. Mer specifikt utgör uppsatsen en analys av von Balthasars konceptualisering av skönhet, och hur denna förståelse av skönhet kan användas för att teologiskt belysa frågor som berör konst och estetiska uttryck. Detta görs i uppsatsen genom att ställa de teorier om inkarnationen, Kristi gestalt och skönhet som von Balthasar presenterar i bokserien The Glory of the Lord sida vid sida med den engelska konstkritikern Peter Fullers sekulära estetik. Målet med detta är att skapa en dialog mellan Fullers problematisering av modern sekulär estetik och von Balthasars teologiska förståelse av skönhet, uttryck och upplevelse. Båda Fullers sekuläraperspektiv och von Balthasars teologiska ingångspunkt behövs i denna studie, mycket eftersom von Balthasar sällan skrev om de sköna konsterna, vilket Fuller gör. Härigenom blir Fullers kritik av samtida konst och estetik relevant eftersom han skapar ett ramverk som kan nyttjas för att testa om von Balthasars teologiska estetik kan användas för att belysa de frågeställningar Fuller försöker besvara. Det är möjligt att se detta som att Fuller ställer frågorna medan von Balthasar ger ett teologiskt svar. Analysen utgör en rörelse från frågor som berör skönhet och dess grund, via en analys av upplevelsen av skönhet, till ett utforskande av hur von Balthasars teologisk estetik kan läggam grunden för en teologisk förståelse av konstnärliga uttryck. Därmed utgör en större del av uppsatsen en analys av det teoretiska ramverket som, åtminstone spekulativt, kan sägas möjliggöra användningen av von Balthasars teologiska idéer i en estetisk kontext som fokuserarpå konst. Anledningen till detta är enkel, i och med att von Balthasar skrivit så lite om konst behöver de relevanta delarna av hans teologiska estetik lyftas fram och placeras i en ny kontext, härigenom blir Fuller relevant för studien. Eftersom Fuller söker ett sekulärt svar på hur vi bör förstå konst i en ”postkristen” tid lyfter han fram frågor som kan besvaras teologiskt, vilket möjliggör en dialog mellan Fullers problematisering av samtidiga konst och von Balthasars konceptualisering av skönhet. Resultatet av denna dialog är att von Balthasars fokus på skönhetens relationalitet och okontrollerbarhet kan belysa de problem som uppstår när Fuller försöker skapa ett sekulärt estetiskt ramverk förankrat i metafysiska tankegångar. I uppsatsens slutsats presenteras två teoretiska resultat. Det första är en form av kritik av den sekulära estetiken och dess avsaknad av metafysisk grund, vilket tenderar att göra frågan om vad skönhet är till en fråga om individuell eller kollektiv smak. Det andra resultatet är att von Balthasars teologiska estetik bygger på en förståelse av inkarnationen där ”jag-Du”relationalitet spelar en viktig roll. Därmed är det möjligt att argumentera för att samspelet mellan ett ”jag” och ett ”Du” uppvisar potential som teoretisk grund för att utvidga användningen av balthasarisk teologisk estetik. Detta skulle emellertid kräva att von Balthasars teologiska estetik kopplas bort från von Balthasars egna kulturella och estetiska preferenser, detta med anledning av hans konservativa syn på konst försvårar dialogen med kontemporär konst och estetik. Denna separation mellan von Balthasars teologi och smak är dock möjlig på grund av att von Balthasar, åtminstone i bokserien The Glory of the Lord, sällan berör frågan om konst.

Genom en innehållslig idéanalys av Gustaf Auléns bok ‘Den kristna försoningstanken’ och Agne Nordlanders bok ‘Korsets mysterium’ med C. Baxter Krugers teologiska ståndpunkt i hans bok ‘Jesus and the Undoing of Adam’ som den vetenskapliga utgångspunkten för min analys ger jag mig i kast med ett tidlöst ämne som ställer mig i en mångtusenårig tradition. Jag hoppas kunna göra en teologisk analys och bedömning av vad litteraturvalet har att säga om begreppet Guds vrede och därigenom ge exempel på hur försoningslära kan förankras i patristisk teologi. / Through a thematic analysis of Gustaf Aulén's book 'Den kristna försoningstanken' and Agne Nordlander's book 'Korsets mysterium', using C. Baxter Kruger's theological standpoint in his book 'Jesus and the Undoing of Adam' as the scholarly foundation for my analysis, I delve into a timeless subject that places me within a tradition spanning millennia. I aim to conduct a theological analysis and assessment of what the choice of literature has to say about the concept of ‘the wrath of God’, thereby providing examples of how atonement theology can be anchored in patristic theology.

In this essay I explore how dance can be interpreted as a theological practice. I stage an encounter between the lived experience of the dancer’s body and word-based tradition of theological discourse. This encounter between the word and the image of dance reveals the limitations of theological discourse to account adequately for the full range of human and creaturely experience that have its sources in colonialism and imperialism. This paper argues that introducing the image of dance and the lived experience of the dancer into theological discourse then will serve to reduce the effects of these dangerous prejudices. This essay will use two of Simone Weil's most well-known concepts, attention and presence. They will serve as the interpretive bridge for a dialogue between dance and theology. I will focus on the experience of dancing and explain how this subjective, embodied practice of movement can enhance theology. At a time of great instability and uncertainty globally with ecological crises, racial injustice, and economic disparity on one hand and the rise of anxiety, depression, loneliness, and despair on the other hand, it is important that we find new ways to cultivate inner peace and encourage responsible action. And important way to do this is to welcome the creative opportunities of instability and uncertainty, of the unknown and the unexplored.  Dance and theology—in collaboration and conversation—can offer useful resources for cultivating these practices that allow us to meet these challenges with faith, hope, and love.

<p>Denna uppsats består av en jämförande studie av två ärkebiskopar – KG Hammar (Svenska kyrkan) och Rowan Williams (Church of England) - ur ett postmodernt teologiskt perspektiv. Syftet var att söka finna postmoderna influenser hos de båda ärkebiskoparna i såväl teori som praktik och undersöka konsekvenserna av ett postmodernt teologiskt agerande.  Undersökningen visade att båda ärkebiskoparna influerades av postmodern teologi i teorin. Hammar förde också som ärkebiskop fram sina personliga postmoderna insikter, medan Williams av olika anledningar generellt valde att endast föra fram kyrkans åsikt. Båda handlingsalternativen medförde såväl kritik som uppskattning. Båda ärkebiskoparna tog fasta på den postmoderna teologins framhållande av dialog som metod: Dialog kännetecknade allt deras handlande, såväl inomkyrkligt som mot andra religiösa och samhälleliga grupper. Trots dialogen kunde dock inte vissa splittringar undvikas. Samhällsengagemanget visade sig däremot till största delen framgångsrikt och visade en postmodern insikt om kyrkans roll i en sekulär värld. Trots att ett postmodernt förhållningssätt inte helt accepterades, medverkade ärkebiskoparnas agerande till att skapa intresse för framför allt religiös dialog bland många olika grupper.</p> / <p>This essay is a comparative study of two archbishops - KG Hammar (Church of Sweden) and Rowan Williams (Church of England) - from a postmodern theological perspective. The aim was to discover postmodern influences for the archbishops in theory and practice, and to investigate the consequences of acting from a postmodern theological perspective. The study revealed postmodern influences in both archbishops' theory. Hammar chose to act according to his personal postmodern convictions also as archbishop whereas, for various reasons, Williams generally chose to speak only for the whole church. Both strategies were criticized as well as appreciated. Both archbishops were committed to dialogue as described by postmodern theology. This influenced all their actions, within the church as well as with other religious denominations and various groups in society. However, even with dialogue certain schisms proved to be unavoidable. The engagement in society proved more successful and showed a postmodern understanding of the church in a secular world. Even though a postmodern course of action was not totally accepted, the archbishops managed to promote a wide interest especially for religious dialogue.</p>