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The Icons came from the sky. They belong to an inhuman enemy. They ended our civilization, and they can kill us. Most of us. Dol, Ro, Tima, and Lucas are the four Icon Children, the only humans immune to the Icon's power to stop a human heart. Now that Los Angeles has been saved, things are more complicated - and not just because Dol has to choose between Lucas and Ro, the two great loves of her life. As she flees to a resistance outpost hidden beneath a mountain, Dol makes contact with a fifth Icon Child, if only through her visions. When Dol and the others escape to Southeast Asia in search of this missing child, Dol's dreams, feelings and fears collide in an epic showdown that will change more than just four lives -- and stop one heart forever. In this riveting sequel to Icons, filled with nonstop action and compelling romance, bestselling author Margaret Stohl explores what it means to be human and how our greatest weakness can be humanity's strongest chance at survival.
By delving into the history of the fetish-object among both modern and contemporary commentators, this book highlights the fetish-object’s role as a philosophical and religious concept of the highest significance. Historically, fetishes are implicated in specific struggles for sovereign (political) and/or religious (hierarchical) power, with their interwoven symbols defined as the primary location for transcendence in our world. This book defines the political consequences of fetish-objects within a western cultural, and primarily theological context through a comparative approach of various literatures on fetish-objects—anthropological to the psychological, Marxist to the theological. It reconceives of fetishes as a form of resistance to oppressive structures, something which motivated Christians themselves historically, and shaped our western understanding of the sacraments far more than has been acknowledged. Taking up this conversation likewise holds forth the possibility of reconceptualizing how fetish-objects and sacramental presences both speak profoundly to our late-modern selves.
Conflicting attitudes towards devotional art was a major factor in the confessional divisions that split Reformation Europe. By presenting essays concerned with both European subjects and European perceptions of other cultures, The Idol in the Age of Art contributes to ongoing attempts to globalize the study of European art. Approaching the Reformation idol as an essentially international problem, and placing particular emphasis on cultural encounters, it provides fresh perspectives on the very nature of Renaissance art, and underscores how colonial issues came to be often framed in terms of European religious conflicts.
New Directions in Rhetoric and Religion reflects the complex and fluid natures of religion, rhetoric, and public life in our globalized, digital, and politically polarized world by bringing together a diverse group of rhetorical scholars to provide a comprehensive and forward-looking collection on rhetoric and religion. This volume addresses these topics in three separate sections: 1. Rhetorics of religion at work in public activism, 2. Rhetorics of religion in contemporary public discourse, and 3. Ways that rhetoric scholars study religion. Scholars of rhetoric, religion, and social sciences will find this book particularly interesting.
A bold recasting of prayer as a rhetorical art, Spiritual Modalities investigates situations, strategies, and performative modes of discourse directed to divine audiences. Examining how prayer “works,” Spiritual Modalities reads prayer’s situations and strategies, its characteristic acts and attitudes, to advance an understanding of prayer as a basic expression of our rhetorical capacities for communication and communion. This groundbreaking analysis demonstrates how prayer draws on fundamental capacities to engage other beings rhetorically to argue that we are never more human than when we address the nonhuman. Spiritual Modalities is notable in its aim to articulate a critical rhetoric of prayer in a secular idiom. It draws on contributions to rhetorical theory from Kenneth Burke along with a broad range of classical and contemporary perspectives on audience, address, speech acts, and modes of performance. The book also takes a multicultural and multimodal approach to prayer as rhetorical performance. The texts and practices of prayer represented range across religious traditions and historical eras and include both verbal and physical modes of divine address. The book will be of interest to scholars researching religious language, Burkean approaches to discourse, practices of memory, and media studies.
Of many surprising experiences that life has brought, two stand out for me - God and children. Neither turned out to be anything like I had been lead to expect. God was big in my family of origin; big enough to lure me into a life of faith. But I hardly knew what I was getting into. Then I married and had two daughters. At the time I thought you had children while you got on with the rest of your life. That idea turned out to be wide off the mark as well. Parents sometimes ask their children, usually in the light of some misdemeanor: What have you got to say for yourself? But that question can as readily be put the other way. After all we bring our children without consultation into the world. They have to live with the circumstances we create until age and stage give them a choice. This book is an attempt at an answer to the implied questions of the rising generation. Of all possibilities available why did you choose to live as a believer? And what on earth has that to do with us? The author an Anglican theologian at St Mark's National Anglican Theological College in Canberra, Australia and has previously written for Liturgical Press in the US.
The Theology of Louis-Marie Chauvet provides a much needed accessible introduction to the philosophical and theological foundations of Chauvet's sacramental theology. Particular attention is given to his appropriation of Heidegger and use of the Social Sciences to elucidate the nature of the symbolic exchange that lies at the heart of the sacramental tradition. This book highlights the prophetic, deconstructive and even iconoclastic message for contemporary society and the church implicit in the Eucharistic liturgy. Common conceptions of God's presence and sacrifice are critically analyzed and the connection between sacramental worship and ethics is emphasized.
This analysis of the arguments for and against icons presented at the Seventh Ecumenical Council of 787 provides a fresh insight from an Eastern Orthodox point of view into the role of icons as channels communicative of divine life.
The relationship between faith and reason is multifaceted. Faith transcends reason in that it is more than reason alone can contain or fully guarantee, yet it is neither unreasonable nor something to which reason is irrelevant—and reason says some pretty fine things about it! This volume updates nine previously published articles on faith and reason by a Christian philosopher who has been studying these matters for two decades, alongside one new essay and a philosophical dialogue. These articles explain and integrate key ideas on faith and reason, including Alvin Plantinga’s account of how Christian belief can be knowledge even without evidence; defenses of faith from Augustine and William James; accounts of empirical evidence for faith from different world religions; the distinction between faith and sight in the New Testament; the structure of the evidence for the authority of the Bible; the idea that faith transcends reason because some articles of faith are beyond human comprehension, even if we have evidence that they are true; and the nature of faith as a total commitment beyond what the evidence alone can guarantee.
This book offers a new way of understanding the old conflict between iconophiles and iconoclasts by exploring the way images in poetry are used by one poet, W. B. Yeats, and his translator, Yves Bonnefoy. Using the phenomenology of Jean-Luc Marion as a tool of interpretation, the book suggests further that translation is a significant act in which one entire theological world of a Protestant poet may become a completely different, Catholic one when the translation is performed by a culturally Catholic poet. For Bonnefoy, therefore, the act of translation becomes a profound act of hope.