Question: Gods such as Anhur, Nubia appear  in short stores and religious material in what theology? 

Context articles: Comparative theology
Anhur
Mycenaean religion
A.L. Monsohn Lithography
Daniel Horan
Alara of Nubia
Formal and material principles of theology
Mr. Harley Quin
Egyptian mythology
Affective piety

Comparative theology is a relatively new discipline within theology, which holds together "comparative" and "theology" in creative tension.
 It represents a particular type of theological practice committed to deep interreligious learning ("comparative") while staying rooted in a particular religious tradition ("theology").
 Moreover, while many of its proponents come from the Christian religious tradition, it can have as a starting point the theology of any religious tradition.
In early Egyptian mythology, Anhur (also spelled Onuris, Onouris, An-Her, Anhuret, Han-Her, Inhert) was originally a god of war who was worshipped in the Egyptian area of Abydos, and particularly in Thinis.
 Myths told that he had brought his wife, Mehit, who was his female counterpart, from Nubia, and his name reflects this—it means "(one who) leads back the distant one".
The religious element is difficult to identify in Mycenaean Greece (c. 1600-1100 BC), especially as regards archaeological sites, where it remains problematic to pick out a place of worship with certainty.
 John Chadwick points out that at least six centuries lie between the earliest presence of Proto-Greek speakers in Hellas and the earliest inscriptions in the Mycenaean script known as Linear B, during which concepts and practices will have fused with indigenous beliefs, and—if cultural influences in material culture reflect influences in religious beliefs—with Minoan religion.
 As for these texts, the few lists of offerings that give names of gods as recipients of goods reveal nothing about religious practices, and there is no surviving literature.
 John Chadwick rejected a confusion of Minoan and Mycenaean religion derived from archaeological correlations and cautioned against "the attempt to uncover the prehistory of classical Greek religion by conjecturing its origins and guessing the meaning of its myths" above all through treacherous etymologies.
 Moses I. Finley detected very few authentic Mycenaean reflections in the eighth-century Homeric world, in spite of its "Mycenaean" setting.
 However, Nilsson asserts, based not on uncertain etymologies but on religious elements and on the representations and general function of the gods, that a lot of Minoan gods and religious conceptions were fused in the Mycenaean religion.
 From the existing evidence, it appears that the Mycenaean religion was the mother of the Greek religion.
 The Mycenaean pantheon already included many divinities that can be found in classical Greece.
The A.L. Monsohn Lithographic Press (דפוס אבן א"ל מאנזאהן) was established in Jerusalem in 1892 by Abraham-Leib (or Avrom-Leyb) Monsohn II (Jerusalem, c.1871-1930) and his brother Moshe-Mordechai (Meyshe-Mordkhe).
 Sponsored by members of the Hamburger family, the brothers had been sent to Frankfurt in 1890 to study lithography.
 Upon returning to Jerusalem with a hand press, they established the A.L. Monsohn Lithographic Press in the Old City of Jerusalem.
 At first it was situated in Bab al-Huta; it was later moved to the courtyard opposite what is today the Old Yishuv Court Museum (Hebrew: ) at 6 Or Ha-Hayim Street in the Jewish Quarter, where Abraham-Leib Monsohn lived with his family.
 Leaving the Old City, the press was relocated to the Mamilla section of Jerusalem, and later to Yosef Ziv Street in the Tel Arza neighborhood.
 The Monsohn Press produced about 300 color prints per day, the only color printing done at the time in Jerusalem.
 In 1894 they imported a new machine which could print 1,000 copies a day—a great advance in local printing.
 The founders of the Monsohn press produced Jewish-themed color postcards, greeting cards, Jewish National Fund stamps, and maps documenting the evolution of the Jewish settlement in Eretz Israel in the nineteenth-twentieth centuries; religious material such as decorative plaques for synagogues, portraits of Old Yishuv rabbis such as Shmuel Salant, Mizrah posters indicating the direction of prayer for synagogues, memorial posters, and posters for Sukkot booths;, color frontispieces for books such as Pentateuch volumes; artistic wedding invitations; and later, government posters; and labels, packaging and advertisements for the pioneering entrepreneurs of Eretz Israel.
 Many of the postcards and maps can be seen online, as can the artistic invitations to his children's weddings which Monsohn published in the Jerusalem Hebrew press (e.g., that for his son Menachem Mendel Monsohn and his wife Zipporah in the 24 June 1914 issue of "Moria").
 The Monsohn Press received special permission from the city’s rabbis to print for Christians and Moslems, so long as the material could not be used to missionize.
 While Eretz Israel was under Ottoman control, Abraham-Leib Monsohn also printed the maps for the Ottoman military leader Djemal Pasha, in his headquarters in Mount Scopus.
Daniel P. Horan, OFM is a Franciscan Friar (of the Order of Friars Minor of Holy Name Province), Roman Catholic Priest, theologian, and author.
 He is currently assistant professor of systematic theology at Catholic Theological Union in Chicago, where he teaches systematic theology and spirituality.
 He studied Theology (in the School of Arts and Sciences) and Journalism (in the Jandoli School of Journalism) at St. Bonaventure University and studied in the Master of Arts in Systematic Theology and Master of Divinity programs at the Washington Theological Union.
 He earned a Ph.D. in Systematic Theology from Boston College.
 He previously taught in the Department of Religious Studies at Siena College in Loudonville, NY, and summer courses in the Department of Theology at St. Bonaventure University, the School of Theology and Ministry at Boston College, and at Catholic Theological Union.
 He currently serves on the Board of Trustees of St. Bonaventure University and the Board of Regents of Franciscan School of Theology He previously served several terms on the International Thomas Merton Society Board of Directors and is a former columnist at "America magazine".
Alara was a King of Kush who is generally regarded as the founder of the Napatan royal dynasty by his 25th Dynasty Nubian successors and was the first recorded prince of Nubia.
 He unified all of Upper Nubia from Meroë to the Third Cataract and is possibly attested at the Temple of Amun at Kawa.
 Alara also established Napata as the religious capital of Nubia.
 Alara himself was not a 25th dynasty Nubian king since he never controlled any region of Egypt during his reign compared to his two immediate successors: Kashta and Piye respectively.
 Nubian literature credits him with a substantial reign since future Nubian kings requested that they might enjoy a reign as long as Alara's.
 His memory was also central to the myth of the origins of the Kushite kingdom which was embellished with new elements over time.
 Alara was a deeply revered figure in Nubian culture and the first Nubian king whose name has come down to scholars.
Formal principle and material principle are two categories in Christian theology to identify and distinguish the authoritative source of theology (formal principle) from the theology itself, especially the central doctrine of that theology (material principle), of a religion, religious movement, tradition, body, denomination, or organization.
 A formal principle tends to be texts or revered leaders of the religion, while a material principle is its central teaching.
 Paul Tillich believed the identification and application of this pair of categories in theological thinking to have originated in the 19th century.
 As early as 1845 the Protestant theologian and historian Philip Schaff discussed them in his "The Principle of Protestantism".
 They were utilized by the Lutheran scholar F. E. Mayer in his "The Religious Bodies of America" in order to facilitate a comparative study of the faith and practice of Christian denominations in the United States.
 This is also treated in a theological pamphlet entitled "Gospel and Scripture" by the Commission on Theology and Church Relations of the Lutheran Church—Missouri Synod.
Harley Quin is a fictional character created by Agatha Christie and the most mysterious of all her detectives.
 His name is a word play on "Harlequin" which may be a clue to his personality.
 Mr. Quin helps his older friend Mr. Satterthwaite solve crimes using his extraordinary skills and instincts.
 He appears in the 12 short stories appearing in "The Mysterious Mr Quin", first published in 1930.
 in an additional two short stories "The Love Detectives" and "The Harlequin Tea Set" from "Problem at Pollensa Bay and Other Stories".
 Mr. Quin's emissary Mr. Satterthwaite, who appears together with him in all the previously mentioned short stores, also appears without him in Christie's short story Dead Man's Mirror, and in her novel Three-Act Tragedy.
Egyptian mythology is the collection of myths from ancient Egypt, which describe the actions of the Egyptian gods as a means of understanding the world.
 The beliefs that these myths express are an important part of ancient Egyptian religion.
 Myths appear frequently in Egyptian writings and art, particularly in short stories and in religious material such as hymns, ritual texts, funerary texts, and temple decoration.
 These sources rarely contain a complete account of a myth and often describe only brief fragments.
Affective piety is most commonly described as a style of highly emotional devotion to the humanity of Jesus, particularly in his infancy and his death, and to the joys and sorrows of the Virgin Mary.
 It was a major influence on many varieties of devotional literature in late-medieval Europe, both in Latin and in the vernaculars.: This practice of prayer, reading, and meditation was often cultivated through concentration on vivid images of scenes from the Bible, Saints' Lives, and other religious material.
 These images could be either conjured up in people's minds when they read or heard poetry and other pieces of religious literature, or they could gaze on manuscript illuminations and other pieces of art as they prayed and meditated on the scenes depicted.
 In either case, this style of affective meditation asked the "viewer" to engage with the scene as if she or he were physically present and to stir up feelings of love, fear, grief, and/or repentance for sin.