Ch. 7-9 JtME Discussion
Welcome back, one last time!
Dear bookish friends,
I hope you have been enjoying Jesus through Medieval Eyes. Thank you, again, for being part of this launch team. I would love to “meet” you at the launch-team-only Zoom Q&A on November 15th (details in your email!).
If you’ve finished JtME, would you be willing to write an honest Amazon or Goodreads review? Reviews go a long way in helping others hear about the book. They influence the algorithm and all those tech things that to be quite frank, I don’t fully understand. Thank you!
But back to the important stuff: our questions for this week. I look forward to hearing your thoughts!
Chapter 7
A question from the chapter reflection practice, that I believe is important for all of us to carefully mull over: How have you fit Christ into a neat cultural box?
What writers and thinkers of the past or a different culture than your own have been helpful to you in breaking out of your own time and place as you consider your interpretations and understandings of who Christ is?
Chapter 8
Focusing so much on suffering can feel strange to us today. What stands out to you as you meditate on the wounds of Christ on the Cross, and dwell there in his suffering alongside these medieval witnesses?
All of the prior representations of Jesus lead up to this chapter on the Passion. How do the previous metaphors, artwork, images, modes of writing, and representations of Christ in earlier chapters fill out or prepare us for the Jesus on the Cross that we see here in fullness?
Conclusion
Where do you see the face of Jesus in your ordinary life? What kinds of practices do you think might help us as we learn how to see Jesus in the people we encounter right here, right now?
Which of these medieval representations of Jesus surprised you the most? Did any change your ideas or feelings about the character of Christ?
Just for my own (Grace’s) curiosity: Do you think you will read any of the medieval writers from these pages?
Thank you again for reading along with me!
Grace
