Scandalizing Jesus? — the list of essays

The editor of Scandalizing Jesus? just sent all the contributors a flier with a list of that book’s essays. And here they are, in the hope that this might whet your appetite as it does mine:

Essays on the Kazantzakis novel:

Peter Bien, “Renan’s Vie de Jésus as a Primary Source for The Last Temptation“
W. Barnes Tatum, “The Novel, the Four Gospels, and the Continuing Historical Quest”
Lewis Owens, “Pontius Pilate: Modern Man in Search of a Soul”
Daniel A. Dombrowski, “Kazantzakis, Chalcedonian Orthodoxy, and Monophysitism”
Pamela J. Francis, “Reading Kazantzakis through Gregory of Nyssa: Some Common Anthropological Themes”
Vrasidas Karalis, “The Unreality of Repressed Desires in The Last Temptation“
Roderick Beaton, “The Temptation That Never Was: Kazantzakis and Borges”
C. D. Gounelas, “‘This Clay Bird Is the Soul of Man’: A Platonic Reading of Kazantzakis’s The Last Temptation“
Charitini Christodoulou, “In the Name-of-the-Father: The Semiotic Threat over the Symbolic Logos”
Jen Harrison, “An Unholy Trinity: Women in Pre-Easter Patriarchy”
Mini Chandran, “Distant Flutter of a Butterfly: The Indian Response to The Last Temptation“

Essays on the Scorsese film:

Elizabeth H. Flowers and Darren J. N. Middleton, “Satan and the Curious: Texas Evangelicals Read The Last Temptation of Christ“
Peter T. Chattaway, “Battling the Flesh: Sexuality and Spirituality in The Last Temptation of Christ“
Lloyd Baugh, S.J., “Martin Scorsese’s The Last Temptation of Christ: A Critical Reassessment of Its Sources, Its Theological Problems, and Its Impact on the Public”
Melody D. Knowles and Allison Whitney, “Teaching the Temptation: Seminarians Viewing The Last Temptation of Christ“
Randolph Jordan, “The Dual Substance of Cinema: What Kazantzakis’s Christ Can Teach Us about Sound/Image Relationship in Film”
Eftychia Papanikolaou, “Identity and Ethnicity in Peter Gabriel’s Sound Track for The Last Temptation of Christ“
Martin Scorsese, “On Reappreciating Kazantzakis”

I am particularly happy to see that at least one essay will be devoted to the role of ethnic music in Scorsese’s film. The tune that plays over the opening credits is, I believe, an Armenian folk tune (augmented by Gabriel’s percussion, etc.) that had also been used just a couple years earlier in Israeli director Amos Gitai’s semi-modern adaptation of Esther (1986; my comments); and I know that Lloyd Baugh, in Imaging the Divine, criticized the use of tunes based on Muslim credal prayers during the Last Supper.