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While there is truth in the idea that our past shapes our future, the gospel is all about the counter-intuitive promise that God is shaping us right now toward God's vision of who we will become. It is not our past that makes us into the image of God; God's redeeming love does that. In God, who we are not yet is shaping who we become. Appealing to anyone drawn to a deeper understanding of their own story and a richer sense of God’s transforming presence, this book will have special resonance for people at turning points in their lives. Career changes, loss of a loved one, graduation, illness, divorce, birth of a child, entering middle or later years: Life is filled with turning points at which we feel compelled to tell our story in a new and different way. Each chapter focuses on a gospel passage, leading to a reflection on a significant point in the author's life which uncovers deeper and more personal meaning in the biblical text. Questions conclude each chapter, engaging readers to look at their own lives—good and bad—and find God, experiencing the joy, surprise, and healing of God's future rewriting the past.
(Piano/Vocal/Guitar Artist Songbook). This songbook includes all 15 songs from the 2006 release, Jackson's first ever gospel album. Songs: Blessed Assurance * How Great Thou Art * I'll Fly Away * In the Garden * The Old Rugged Cross * Softly and Tenderly * What a Friend We Have in Jesus * and more.
-Scott Tucker, looks at the theme of "heaven" in six of the Gaither Homecoming songbooks - David Fillingim looks at how Southern Gospel Music answers the question of theodicy from the perspective of the rural, white, working class - Robert M. McManus explores selected song lyrics to show how Southern Gospel Music helps construct the identity of the community compared to Contemporary Christian Music - Darlene R. Graves identifies key sustaining personality strengths of women that tend to preserve consistency between their public performance and personal spiritual walk - Elizabeth E Desnoyers-Colas and Stephanie Howard (Asabi) explore Southern Gospel and Black Gospel music, through the influence of Thomas A. Dorsey - Michael Graves examines how the culture of Southern Gospel Music deals with its inevitable prodigal sons - Raymond D.S. Anderson analyzes the Gaither Homecoming videos as examples of the postmodern turn in American popular Christian culture - John D. Keeler presents the first audience study of southern Gospel Music employing a "Uses and Gratifications" research framework - Paul A. Creasman examines the ways Southern Gospel Music as a culture memorializes its dead by use of the Internet - Naaman Wood reviews significant scholarly approaches to the study of popular music.
In A City Called Heaven, Robert M. Marovich follows gospel music from early hymns and camp meetings through its growth into the sanctified soundtrack of the city's mainline black Protestant churches. Marovich mines print media, ephemera, and hours of interviews with artists, ministers, and historians--as well as relatives and friends of gospel pioneers--to recover forgotten singers, musicians, songwriters, and industry leaders. He also examines the entrepreneurial spirit that fueled gospel music's rise to popularity and granted social mobility to a number of its practitioners. As Marovich shows, the music expressed a yearning for freedom from earthly pains, racial prejudice, and life's hardships. Yet it also helped give voice to a people--and lift a nation. A City Called Heaven celebrates a sound too mighty and too joyous for even church walls to hold.
Nineteen hundred years ago, someone called the Beloved Disciple told stories about Jesus and his days on earth, including reports of what Jesus did and said. These stories had been todl for decades, but then someone took the stories and wrote them down, turning them from oral tradition into the book we know as the Gospel of John. Scholars have long concentrated on the content of this Fourth Gospel, analyzing how it differs from the Gospels of Matthew, Mark, and Luke and wondering how the different Gospels relate to the Jesus of history.Thatcher builds on all this previous scholarship to as new and exciting questions: Why was this Gospel written? Why would these followers of Jesus turn the oral stories into written Gospel? In exploring the reason for writing the Fourth Gospel, Thatcher focuses on how stories and written texts operate to reflect and to create memory with in groups of people. He uncovers how early Christians strove to remember Jesus in the decades after his ministry and how Christians came into conflict with one another about which memories were best.With this interest in the social memory of early Christians, Thatcher provides original insights into the Gospel of John and shows new answers to old questions. Writing in an engaging and accessible style, Thatcher uses numerous diagrams and modern parallels to show how Gospel texts shape the memory and identity of Christian communities, not only in the ancient world but today as well.
How did the Gospel of Mark come to exist? And how was the memory of Jesus shaped by the experiences of the earliest Christians? For centuries, biblical scholars examined texts as history, literature, theology, or even as story. Curiously absent, however, has been attention to processes of collective memory in the creation of biblical texts. Drawing on modern explorations of social memory, Sandra Huebenthal presents a model for reading biblical texts as collective memories. She demonstrates that the Gospel of Mark is a text evolving from collective narrative memory based on recollections of Jesus’s life and teachings. Huebenthal investigates the principles and structures of how groups remember and how their memory is structured and presented. In the case of Mark’s Gospel, this includes examining which image of Jesus, as well as which authorial self-image, this text as memory constructs. Reading Mark’s Gospel as a Text from Collective Memory serves less as a key to unlock questions about the historical Jesus and more as an examination of memory about him within a particular community, providing a new and important framework for interpreting the earliest canonical gospel in context.
This volume discusses the new approaches regarding the criteria of authenticity and their relevance in the quest for the historical Jesus studies.
This is a different book about Jesus. It does not study the Gospels as sources for the historical Jesus, but reads them as memories about Jesus, each Gospel with its characteristic picture of Jesus. The book traces the transmission and growth of memories of Jesus in various contexts and in different historical periods. It also introduces readers to the little known counterstories to Christian memories in Jewish sources, as well as to the rival stories in the Quran. A central perspective in the book is the troubling fact that for centuries the memories of Jesus contributed to hate speech against the Jews in Europe. The passion narratives in the Gospels put the blame for the death of Jesus upon Jewish leaders, and these stories were transmitted across the centuries as historical truth. Memories of Jesus have served as identity markers not only for churches but also for societies and countries. The last chapters focus on how the memories of Jesus have played an important role in supporting the identity of oppressed and marginalized groups, in particular in the contemporary United States.