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"In Mark's Gospel, the Shema language of Deut 6.4 is not merely reiterated in a traditional sense but reinterpreted in a striking way that links Jesus directly and inseparably with Israel's unique God. Such an innovative rereading of the Shema must be understood in light of (a) various elements involved in and surrounding each of the three monotheistic references (Mark 2.7; 10.18; 12.29) relating to their respective literary contexts, and (b) Mark's nuanced, complex, and even paradoxical portrait of Jesus' relationship to God throughout his gospel. John J.R. Lee shows that Mark's use of the one-God language implies that his Jesus is not merely one who, as a Shema-observant Jew, speaks on behalf of God but also one whose status and significance fundamentally correspond to those of Israel's unique deity." --provided by publisher
226.2 --- 222.4 --- 225.06*2 --- 226.2 Evangelie volgens Matteüs --- 226.2 Evangile de S. Matthieu --- Evangelie volgens Matteüs --- Evangile de S. Matthieu --- 225.06*2 Gebruik van Oud Testament in Nieuw Testament. Testimonia --- Gebruik van Oud Testament in Nieuw Testament. Testimonia --- 222.4 Deuteronomium --- 222.4 Le Deuteronome --- Deuteronomium --- Le Deuteronome --- Jesus Christ --- Christ --- Cristo --- Jezus Chrystus --- Jesus Cristo --- Jesus, --- Christ, Jesus --- Yeh-su --- Masīḥ --- Khristos --- Gesù --- Christo --- Yeshua --- Chrystus --- Gesú Cristo --- Ježíš --- Isa, --- Nabi Isa --- Isa Al-Masih --- Al-Masih, Isa --- Masih, Isa Al --- -Jesus, --- Jesucristo --- Yesu --- Yeh-su Chi-tu --- Iēsous --- Iēsous Christos --- Iēsous, --- Kʻristos --- Hisus Kʻristos --- Christos --- Jesuo --- Yeshuʻa ben Yosef --- Yeshua ben Yoseph --- Iisus --- Iisus Khristos --- Jeschua ben Joseph --- Ieso Kriʻste --- Yesus --- Kristus --- ישו --- ישו הנוצרי --- ישו הנצרי --- ישוע --- ישוע בן יוסף --- المسيح --- مسيح --- يسوع المسيح --- 耶稣 --- 耶稣基督 --- 예수그리스도 --- Jíizis --- Yéshoua --- Iėsu̇s --- Khrist Iėsu̇s --- عيسىٰ --- Divinity --- Biblical teaching. --- Bible. --- Shema. --- Deuteronomium (Book of the Old Testament) --- Deuteronomy (Book of the Old Testament) --- Devarim (Book of the Old Testament) --- Kitāb-i Divārīm (Book of the Old Testament) --- Shinmeiki (Book of the Old Testament) --- Sifr al-Tathniyah (Book of the Old Testament) --- Sinmyŏnggi (Book of the Old Testament) --- Tas̲niyah (Book of the Old Testament) --- Tathniyah (Book of the Old Testament) --- שמע --- Shemaʻ Yiśraʼel --- Siddur. --- Sh'ma Yisroel --- שמע ישראל --- Sh'ma (Confession of faith) --- Sh'ma (Prayer) --- Marco (Book of the New Testament) --- Mark (Book of the New Testament) --- Markus (Book of the New Testament) --- Markusevangelium --- Vangelo di Marco --- Book of Mark --- Criticism, interpretation, etc. --- Relation to the Old Testament.
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Christian theologians have for some decades affirmed that they have no monopoly on encounters with God or ultimate reality and that other religions also have access to religious truth and transformation. If that is the case, the time has come for Christians not only to learn about but also from their religious neighbors. Circling the Elephant affirms that the best way to be truly open to the mystery of the infinite is to move away from defensive postures of religious isolationism and self-sufficiency and to move, in vulnerability and openness, toward the mystery of the neighbor. Employing the ancient Indian allegory of the elephant and blind(folded) men, John J. Thatamanil argues for the integration of three often-separated theological projects: theologies of religious diversity (the work of accounting for why there are so many different understandings of the elephant), comparative theology (the venture of walking over to a different side of the elephant), and constructive theology (the endeavor of re-describing the elephant in light of the other two tasks).
Christianity and other religions --- Religious pluralism --- Religions --- Cultural pluralism --- 291.16 --- Cultural diversity --- Diversity, Cultural --- Diversity, Religious --- Ethnic diversity --- Pluralism (Social sciences) --- Pluralism, Cultural --- Religious diversity --- Culture --- Cultural fusion --- Ethnicity --- Multiculturalism --- Interreligious relations --- Relations among religions --- Pluralism (Religion) --- Pluralism --- Religion --- Christianity --- Syncretism (Christianity) --- 291.16 Verhouding tussen de godsdiensten. Verdraagzaamheid. Interreligieuze dialoog --- Verhouding tussen de godsdiensten. Verdraagzaamheid. Interreligieuze dialoog --- Relations --- History --- Comparative religion
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Stone tools are the least familiar objects that archaeologists recover from their excavations, and predictably, they struggle to understand them. Eastern Africa alone boasts a 3.4 million-year-long archaeological record but its stone tool evidence still remains disorganized, unsynthesized, and all-but-impenetrable to non-experts, and especially so to students from Eastern African countries. In this book, John J. Shea offers a simple, straightforward, and richly illustrated introduction in how to read stone tools. An experienced stone tool analyst and an expert stoneworker, he synthesizes the Eastern African stone tool evidence for the first time. Shea presents the EAST Typology, a new framework for describing stone tools specifically designed to allow archaeologists to do what they currently cannot: compare stone tool evidence across the full sweep of Eastern African prehistory. He also includes a series of short, fictional, and humorous vignettes set on an Eastern African archaeological excavation, which illustrate the major issues and controversies in research about stone tools.
Tools, Prehistoric --- Implements, Prehistoric --- Implements, utensils, etc., Prehistoric --- Prehistoric implements --- Prehistoric tools --- Stone implements --- Flint implements --- Lithic implements --- Implements, utensils, etc. --- Debitage
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"This book is for pianists who wish to improvise. Many will be experienced performers - perhaps even veteran concert artists - who are nevertheless beginners at improvisation. This contradiction is a reflection of our educational system. Those who attend collegiate music schools spend nearly all time and effort on learning, perfecting, and reciting masterpieces from the standard repertoire. As far as I can remember, no one ever taught or advocated for improvisation during my decade as a student in music schools. Certainly no one ever improvised anything substantial in a concert (except for the jazz musicians, who were, I regret to say, a separate division and generally viewed with complete indifference by the classical community). Nor did any history professor mention that, long ago, improvisation was commonplace and indeed an indispensable skill for much of the daily activity of a working musician. I continue to dedicate a portion of my career to "perfecting and reciting" masterpieces of the repertoire, and teaching my students to do the same. That tradition is dear to me. Still, if I have one regret about my traditional education, it's that it wasn't traditional enough. We have forgotten that in the eighteenth century - those hundred years that form the bedrock of classical music - improvisation was a foundation of music training. Oddly, our discipline has discarded a practice that helped bring it into being. Perhaps it is time to retrieve it from the junk heap of history and give it a good dusting off. I love the legends of the improvisational powers of the masters: Bach creating elaborate fugues on the spot, or Beethoven humiliating Daniel Steibelt by riffing upon and thereby exposing the weakness of the latter's inferior tunes. The stories implied that these abilities were instances of inexplicable genius which we could admire in slack-jawed wonder but never emulate. But that isn't right. Bach could improvise fugues not because he was unique but because almost any properly-trained keyboard player in his day could. Even mediocre talents could improvise mediocre fugues. Bach was exceptionally good at something which pretty much everyone could do at a passable level. They could all do it because it was built into their musical thinking from the very beginning of their training"--
Improvisation (Music) --- Piano --- Performance practice (Music) --- Instruction and study --- History
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