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The metaphor of performance has been applied fruitfully by anthropologists and other social theorists to different aspects of human social existence, and furnishes a potentially helpful model in terms of which to think theologically about Christian life. After an introductory editorial chapter reflecting on the nature of artistic performance and its relationship to the notions of tradition and identity, Part One of this book attends specifically to the phenomenon of dramatic performance and possible theological applications of it. Part Two considers various aspects of the performance of Christian identity, looking at worship, the interpretation of the Bible, Christian response to elements in the contemporary media, the shape of Christian moral life, and ending with a theological reflection on the shape of personal identity, correlating it with the theatrical metaphors of 'character' and 'performing a part' in a scripted drama. Part Three demonstrates how art forms (including some technically non-performative ones - literature, poetry, painting) may constitute faithful Christian practices in which the tradition is authentically 'performed', producing works which break open its meaning in profound new ways for a constantly shifting context.
The metaphor of performance has been applied fruitfully by anthropologists and other social theorists to different aspects of human social existence, and furnishes a potentially helpful model in terms of which to think theologically about Christian life. After an introductory editorial chapter reflecting on the nature of artistic performance and its relationship to the notions of tradition and identity, Part One of this book attends specifically to the phenomenon of dramatic performance and possible theological applications of it. Part Two considers various aspects of the performance of Christian identity, looking at worship, the interpretation of the Bible, Christian response to elements in the contemporary media, the shape of Christian moral life, and ending with a theological reflection on the shape of personal identity, correlating it with the theatrical metaphors of 'character' and 'performing a part' in a scripted drama. Part Three demonstrates how art forms (including some technically non-performative ones - literature, poetry, painting) may constitute faithful Christian practices in which the tradition is authentically 'performed', producing works which break open its meaning in profound new ways for a constantly shifting context.
As they examine the stories of incredible women of the Bible, readers will find hope, encouragement, and a strong sense of community in this beautiful, eclectic collection of writing, photos, and lyrics that reflect God’s faithfulness. Bringing together some of the most beloved Christian authors and songwriters of today, Faithful guides readers through the pages of Scripture to increase understanding of how God has always valued the integral role of females and how that shapes the lives of women today. The Faithful project is a collaboration between three major ministry partners: David C Cook, Integrity Music, and Compassion International. The accompanying album and a 2021 tour of live events celebrates the contributions of women while recognizing their empowerment through the faithfulness of God. This beautiful, creative book will invite readers to return again and again for reflection and inspiration through guided scripture reading and writing prompts.
In the seventeenth-century English Atlantic, religious beliefs and practices played a central role in creating racial identity. English Protestantism provided a vocabulary and structure to describe and maintain boundaries between insider and outsider. In this path-breaking study, Heather Miyano Kopelson peels back the layers of conflicting definitions of bodies and competing practices of faith in the puritan Atlantic, demonstrating how the categories of “white,” “black,” and “Indian” developed alongside religious boundaries between “Christian” and “heathen” and between “Catholic” and “Protestant.” Faithful Bodies focuses on three communities of Protestant dissent in the Atlantic World: Bermuda, Massachusetts, and Rhode Island. In this “puritan Atlantic,” religion determined insider and outsider status: at times Africans and Natives could belong as long as they embraced the Protestant faith, while Irish Catholics and English Quakers remained suspect. Colonists’ interactions with indigenous peoples of the Americas and with West Central Africans shaped their understandings of human difference and its acceptable boundaries. Prayer, religious instruction, sexual behavior, and other public and private acts became markers of whether or not blacks and Indians were sinning Christians or godless heathens. As slavery became law, transgressing people of color counted less and less as sinners in English puritans’ eyes, even as some of them made Christianity an integral part of their communities. As Kopelson shows, this transformation proceeded unevenly but inexorably during the long seventeenth century.
A fresh, creative introduction to theological ethics. Offering an imaginative approach through dialogue with theatrical theory and practice, Vander Lugt demonstrates a new way to integrate actor-oriented and action-oriented approaches to Christian ethics within a comprehensive theodramatic model. This model affirms that life is a drama performed in the company of God and others, providing rich metaphors for relating theology to everyday formation and performance in this drama. This book contains not only a fruitful exchange between theological ethics and theatre, but it also presents a promising method for interdisciplinary dialogue between theology and the arts that will be valuable for students and practitioners across many different fields.
Both within the church and outside of it, popular discourse around sex is often shallow and individualistic. This is especially true on the topic of sex outside of marriage. Not Just Private explains how our sexual practices can and should stem from our deeply held, uniquely Christian convictions--convictions that mean we cannot talk about sex apart from Christian community or Christian character. Laying out those foundations allows us to recover Christian insights that many of us have lost and to identify the cultural syncretism that has crept into our churches. With these foundations in view, we can see how sex is not about following rules or avoiding harm but rather about producing certain kinds of individuals and communities. This is a book for Christians who want to be chaste but are not sure why they should be. This is also a book for non-Christians wondering why some Christians practice what Oscar Wilde described as the greatest sexual perversion: namely, chastity. In the end, Not Just Private shows both how Christian perceptions and beliefs are deeply at odds with the practice of extramarital sex and how the perceptions and beliefs that support extramarital sex are unchristian.
Includes the decisions of the Supreme Courts of Missouri, Arkansas, Tennessee, and Texas, and Court of Appeals of Kentucky; Aug./Dec. 1886-May/Aug. 1892, Court of Appeals of Texas; Aug. 1892/Feb. 1893-Jan./Feb. 1928, Courts of Civil and Criminal Appeals of Texas; Apr./June 1896-Aug./Nov. 1907, Court of Appeals of Indian Territory; May/June 1927-Jan./Feb. 1928, Courts of Appeals of Missouri and Commission of Appeals of Texas.
Remembering Popular Music’s Past capitalizes on the growing interest, globally, in the preservation of popular music’s material past and on scholarly explorations of the ways in which popular music, as heritage, is produced, legitimized and conferred cultural and historical significance. The chapters in this collection consider the spaces, practices and representations that constitute popular music heritage to elucidate how popular music’s past is lived in the present. Thus the focus is on the transformation of popular music into heritage, and the role of history and memory in this process. The cultural studies framework adopted in Remembering Popular Music’s Past encompasses unique approaches to popular music historiography, sociology, film analysis, and archival and museal work. Broadly, the collection deals with the precarious nature of popular music heritage, history and memory.
Kent Greenawalt's From the Bottom Up constitutes a collection of articles and essays written over the last five decades of his career. They cover a wide range of topics, many of which address ties between political and moral philosophy and what the law does and should provide. A broad general theme is that in all these domains, what really is the wisest approach to difficult circumstances often depends on the particular issues involved and their context. Both judges and scholars too often rely on abstract general formulations to provide answers. A notable example in political philosophy was the suggestion of the great and careful scholar, John Rawls, that laws should be based exclusively on public reason. The essays explain that given uncertainty of what people perceive as the line between public reason and their religion convictions, the inability of public reason to resolve some difficulty questions, such as what we owe to higher animals, and the feeling of many that their religious understanding should count, urging exclusive reliance on public reason is not a viable approach. Other essays show similar problems with asserted bases for legal interpretations and the content of provisions such as the First Amendment.