Klaus Berger

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Klaus Berger



KLAUS BERGER (Hildesheim, 1940), catedrático emérito de Teología del Nuevo Testamento en la Facultad de Teología Evangélica de Heidelberg, se cuenta entre los teólogos más relevantes de Alemania. Su original traducción del Nuevo Testamento (Das Neue Testament und frühchristliche Schriften) causó gran sensación. Sus libros de carácter científico le han hecho merecedor de un gran prestigio entre los especialistas, y sus libros de divulgación (Paulus, Sind die Berichte des Neuen Testaments wahr?) han alcanzado elevadas tiradas y han sido traducidos a muchos idiomas. Berger se opone al programa de la desmitologización de la tradición bíblica y reclama una confianza más firme en el texto de la Biblia. La Editorial Sal Terrae ha publicado su obra ...more

Average rating: 3.76 · 94 ratings · 6 reviews · 117 distinct works
Gesù

4.38 avg rating — 8 ratings — published 2004 — 4 editions
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Das Neue Testament und früh...

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4.29 avg rating — 7 ratings3 editions
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Paulus

4.60 avg rating — 5 ratings3 editions
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Qumran. Funde – Texte – Ges...

2.63 avg rating — 8 ratings — published 1998
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Jesus and the Dead Sea Scro...

2.86 avg rating — 7 ratings — published 1993 — 3 editions
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Die Bibelfälscher. Wie wir ...

really liked it 4.00 avg rating — 5 ratings — published 2013 — 2 editions
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Identity and Experience in ...

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really liked it 4.00 avg rating — 4 ratings — published 2003 — 4 editions
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Wer war Jesus wirklich?

3.50 avg rating — 4 ratings — published 1998 — 4 editions
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Schweigen. Eine Theologie d...

4.67 avg rating — 3 ratings
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Zölibat: Eine theologische ...

really liked it 4.00 avg rating — 3 ratings
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“Japonisme was a vertical phenomenon running through a number of successive styles; Art Nouveau was a horizontal, chronologically limited phenomenon that embodied the aim of giving expression to a new experience of life.”
Klaus Berger, Japonisme in Western Painting from Whistler to Matisse

“There are, broadly speaking, three directly analogous progressions inthe history of art: in Antiquity, from the blockiness of Egyptian art to the loose, painterly handling of Roman landscape frescoes; in the Middle Ages, from the tectonic emphasis of Ottonian art to the flamboyance of late Gothic; and in later times, from early Renaissance linearity to the sparkling web of light spun by the Rococo. The wheel turns full circle, but more rapidly each time. ”
Klaus Berger, Japonisme in Western Painting from Whistler to Matisse

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