In the last century, beauty has not often found itself enlisted in struggles for justice. As Alexander Nehemas recounts, beauty's severance from goodness and truth in the modern period renders beauty dangerous, its charm easily wielded as an instrument of oppression in the hands of the powerful. While some scholars have argued for a return to the pre-modern metaphysics that binds beauty to truth and goodness, the abuse of beauty is not simply a modern phenomenon, and its resistance requires more than a pre-modern solution. Beauty is eschatological; thus its abuse points to a failure to order it properly to its eschatological end. This article will argue that the abuse of beauty can be resisted not by spiritualising beauty, but by ordering physical beauty to its eschatological end. This end is most clearly seen in the ascended Christ, with his beautiful body that is human, wounded and hidden.

This article argues that, unlike some exegetes (e.g. Francis Moloney), Thomas Torrance correctly interpreted Mark 16:19–20 in support of a theology of the ascended Christ's continuing prophetic activity. In the ministry of the Word, Christ remains present and at work witnessing to himself. This prophetic office, associated with and not to be separated from his kingly and priestly functions, is not to be played down. He is the primary agent forever actively involved in Christian proclamation.

In the Gospel of John, Jesus declares himself to be the way to the Father; in the First Apocalypse of James, Jesus explains exactly what this way entails. This article analyzes how 1 Apoc. Jas. uses the Johannine christological themes of identity, death and ascension and makes them applicable for human salvation. The identity of Jesus as a son of the Father, as opposed to the inhabitants of the world/cosmos, his autonomous death that conquers cosmic evils, and his immediate ascension and fleshly return are all Johannine motifs that are reformulated in 1 Apoc. Jas. Jesus reveals to James that he too is a son of the Father, and James must declare this identity during his postmortem journey through the celestial toll-collectors. He must not fear his impending stoning as, like other martyrdom literature, the martyr is immune to earthly concerns, and the real challenge lies in the cosmic sphere.

In both his Gospel and Acts, Luke places the ascension at the end of the day of Jesus' resurrection. There is no difference between Luke's dating of the ascension in his Gospel and that in Acts. The forty days mentioned in Acts 1.3 are viewed by Luke as subsequent to the ascension, not as previous to it. The forty days are not the term fixed for the ascension; they are not linked with the ascension at all. They are linked with the post-Easter, post-ascension appearances. The ascension ought to be regarded as preceding the forty days of Jesus' appearances rather than following them.

How is the association of the descent/ascent motif with the Johannine Son of Man to be explained if the gnosticism theory no longer holds? ἀναβέβηκεν (3.13) is usually taken to refer to Jesus' final ascension. But Odeberg saw that it refers to a tradition of heavenly ascent in Jesus' lifetime. Bühner argued rather for a double reference—to the ascent of a visionary seer involving a metamorphosis into a heavenly being and a final ascent at death. Yet he ignores the likelihood, sustained by Jarl Fossum and Morton Smith, that the transfiguration tradition was based on an authentic memory. In chs. 9 and 5 the evangelist recognizes that Jesus had been invested with the authority of the heavenly Son of Man. He sees the crucifixion as an exaltation (3.14), and follows a statement of Jesus' ascent, descent and exaltation by a full summary of God's loving gift to the world.

The presentation of Jesus in his appearance in Rev 12.5 includes his birth and his ascension, but it does not mention his death, despite its important role elsewhere in the book. The present study, after surveying some typical explanations of this lack, suggests a twofold solution. First, the comparison of the christophanies in the Apocalypse reveals a characteristic sequence in their description into which the messianic appearance in ch. 12 fits well. Second, the fact that John sharply separates the depiction of the satanic intent to kill the Messiah from Jesus' death contributes to the Christology of Revelation. The protagonist of the book is unequivocally superior both to the devil and to all popular mythical figures who must face the forces of chaos.