Question: How does liberal theology deal with the problem of a guilty conscience? Passage 1:An early interest in critical theology made him suspect to some more 'orthodox' Christians. However, he increasingly came to the conclusion that liberal theology failed to account adequately for the moral problem of the guilty conscience. This led him to a moral crisis which he found resolved in the atoning work of Christ. The experience helped to shape and inform a vigorous interest in the issues of holiness and atonement. Although Forsyth rejected many of his earlier liberal leanings he retained many of Adolf von Harnack's criticisms of Chalcedonian Christology. This led him to expound a kenotic doctrine of the incarnation (clearly influenced by Bishop Charles Gore and Thomasius). Where he differed from other kenotic theologies of the atonement was the claim that Christ did not give up his divine attributes but condensed them; i.e., the incarnation was the expression of God's omnipotence rather than its negation. His theology and attack on liberal Christianity can be found in his most famous work, The Person and Place of Christ (1909), which anticipated much of the neo-orthodox theology of the next generation. He has sometimes been coined the 'Barthian before Barth', but this fails to account for many areas of divergence with the Swiss theologian's thought.
 Passage 2:Born in Sarasota, Florida, Zehr trained from the age of seven with the Sarasota Ballet School and later with the Harid Conservatory in Boca Raton. When she was 17, she joined the Houston Ballet as an apprentice, working with Maina Gielgud there and becoming a soloist in 2006. The National Ballet of Canada in Toronto took her on as a soloist in 2007, promoting her to principal dancer in 2009. In both Houston and Toronto, she established a close personal and professional relationship with Zdenek Konvalina. Following Konvalina, in 2011, she joined the English National Ballet as a principal dancer. She has danced principal roles in several classical ballets including The Sleeping Beauty, Swan Lake and Giselle and in works by George Balanchine such as Apollo (ballet) and Jewels. She received the Rolex Dancers First Award in 2009 for dancing the title role in Davide Bombana's Carmen.
 Passage 3:In 270 the Roman emperor Aurelian engaged the Sassanids, who had now replaced the Parthians, on the eastern front and he was able to drive them back. Tiridates, as the true heir to the now Persian-occupied Armenian throne, came to Armenia and quickly raised an army and drove the enemy out in 287. When Tiridates returned to Armenia, he made the city of Vagharshapat his capital, as it had been the capital of his late father. For a while, fortune appeared to favour Tiridates. He not only expelled his enemies, but he carried his arms into Assyria. At the time the Persian Empire was in a distracted state. The throne was disputed by the ambition of two contending brothers, Hormuz and Narses. The civil war was, however, soon terminated and Narses was universally acknowledged as King of Persia. Narses then directed his whole force against the foreign enemy. The contest then became too unequal. Tiridates once more took refuge with the Romans. The Roman-Armenian alliance grew stronger, especially while Diocletian ruled the empire. This can be attributed to the upbringing of Tiridates, the consistent Persian aggressions and the murder of his father by Anak. With Diocletian's help, Tiridates pushed the Persians out of Armenia. In 299, Diocletian left the Armenian state in a quasi-independent and protectorate status possibly to use it as a buffer in case of a Persian attack. Tiridates married an Alani Princess called Ashkhen in 297 by whom he had three children: a son called Khosrov III, a daughter called Salome and an unnamed daughter who married St. Husik I, one of the earlier Catholicoi of the Armenian Apostolic Church.

Output: 1