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Eugene H. Peterson’s never-before-published wisdom for each season of the Christian year The glorious, never-dull reality of the gospel is this: Christ sets us free. All of us can be doers of the word, using the stuff of the everyday to make something to the glory of God. Long before his iconic paraphrased Bible translation, The Message, Eugene H. Peterson (1932–2018) faithfully preached for decades to the small congregation of Christ Our King Presbyterian Church in Bel Air, Maryland. As the seasons passed, along with the accompanying fasts and feasts, Peterson faithfully revealed ways to cultivate a robust, authentic life of faith, intimacy, obedience, and joy. Now you can gain new insights into Peterson’s preaching and pastoral life through this collection of his most compelling yet never-before-published sermons. Following the calendar of the church year, from the darkness of Advent to the light of Epiphany, the wilderness of Lent to the celebration of Easter, and the fire of Pentecost to the everyday glory of ordinary time, these remarkable sermons point to the eternity beyond our experience of time. With his trademark wit and wisdom, Peterson shows how to pursue a “long obedience in the same direction” through all the seasons, colors, and rhythms of our lives.
Eugene H. Peterson’s never-before-published wisdom for each season of the Christian year The glorious, never-dull reality of the gospel is this: Christ sets us free. All of us can be doers of the word, using the stuff of the everyday to make something to the glory of God. Long before his iconic paraphrased Bible translation, The Message, Eugene H. Peterson (1932–2018) faithfully preached for decades to the small congregation of Christ Our King Presbyterian Church in Bel Air, Maryland. As the seasons passed, along with the accompanying fasts and feasts, Peterson faithfully revealed ways to cultivate a robust, authentic life of faith, intimacy, obedience, and joy. Now you can gain new insights into Peterson’s preaching and pastoral life through this collection of his most compelling yet never-before-published sermons. Following the calendar of the church year, from the darkness of Advent to the light of Epiphany, the wilderness of Lent to the celebration of Easter, and the fire of Pentecost to the everyday glory of ordinary time, these remarkable sermons point to the eternity beyond our experience of time. With his trademark wit and wisdom, Peterson shows how to pursue a “long obedience in the same direction” through all the seasons, colors, and rhythms of our lives.
In this book colour words as used in the poetry of Keats, Browning and Hopkins become crucial indicators of a way of looking at the nineteenth-century world. The author traces the forging of language that mediates between a system of values and the flux of experience.
On Self-Harm, Narcissism, Atonement and the Vulnerable Christ explores St. Augustine of Hippo's theology of sin, described as various forms of self-loathing and self-destruction, in addition to sin's antidote, a vulnerable relationship with the crucified Christ. Incorporating recent thinking on self-destruction and self-loathing into his reading of Augustine, David Vincent Meconi explores why we are not only allured by sin, but will actually destroy ourselves to attain it, even when we are all too well aware that this sin will bring us no true, lasting pleasure. Meconi traces the phenomena of self-destruction and self-loathing from Augustine to today. In particular, he focuses in on how self-love can turn to self-harm, and the need to provide salvage for such woundedness by surrendering to Christ, showing how Augustine's theology of sin and salvation is still crucially applicable in contemporary life and societies.
In her fascinating and beautifully illustrated book, Catherine Phillips uses letters, new archival material, and contemporary publications to reconstruct the visual world Gerard Manley Hopkins knew between 1862 and 1889 - with its illustrated journals, art exhibitions, Gothic architecture, photographic shows, and changing art criticism - and to show how it was connected to the startling originality of his writing.
In the title essay, Professor Hardy argues for the special advantage of lyric over other other literary genres in conveying intense private feelings publicly. She then gives detailed consideraton to the lyric poetry of John Donne, Arthur Hugh Clough, and a group of poets central to the modernist canon: Hopkins, Yeats, Aden, Dylan Thomas, and Sylvia Plath. Those interested in W.H. Auden will find the book of particular value, since Auden occupies a central place in it. W.H. Auden has frequently been held up as the modern example par excellence of a 'public poet' whose works betray relatively little in the way of personal emotion. In the cahpters entitled 'The Reticence of W.H. Auden, Thirties to Sixties: A Face and a Map' barbara Hardy shows the inadequacy of that characterization and opens the way for a fresh appreciation of Auden's achievement as a poet. Readers interested in modern poetry genearlly and all readers acquainted with Barara Hardy's previous books will the book of importance.
Exploring space: Spatial notions in cultural, literary and language studies falls into two volumes and is the result of the 18th PASE (Polish Association for the Study of English) Conference organized by the English Department of Opole University and held at Kamień Śląski in April 2009. The first volume embraces cultural and literary studies and offers papers on narrative fiction, poetry, theatre and drama, and post-colonial studies. The texts and contexts explored are either British, American or Commonwealth. The second volume refers to English language studies and covers papers on lexicography, general linguistics and rhetoric, discourse studies and translation, second language acquisition/foreign language learning, and the methodology of foreign language teaching. The book aims to offer a comprehensive insight into how the category of space can inform original philological research; thus, it may be of interest to those in search of novel applications of space-related concepts, and to those who wish to acquire an update on current developments in English Studies across Poland (from the Preface).
'Will surely rank as one of the foremost literary biographies of our time.' John Carey, Sunday Times In his lifetime Gerard Manley Hopkins (1844-1889) published just a single poem - only a few close friends were aware he wrote. Much of his work was burnt by fellow Jesuits on his death. And yet Hopkins is today a huge figure in English literature. Homosexual but terribly repressed, he channeled his emotions toward nature and God, with profound results. Princeton emeritus professor Martin, the only biographer to have unrestricted use of Hopkins' private papers, tells this extraordinary story from Hopkins' early life and studies at Oxford, through his tortuous conversion from Anglicanism to Catholicism, to his struggle in later years to retain his very sanity. 'In Martin, the unhappy and tormented genius has found the most sympathetic and intelligent interpreter... [The book] goes to the heart of Hopkins, and plants him firmly before us as a Victorian, and a great one.' Allan Massie, Sunday Telegraph 'Martin follows Hopkins through his toils with sympathy and a great unshowy command of the facts. In this magnificently solicitous biography he has re-established the contours of the story definitively and made the homosexual drama integral to the better-known drama of conversion and poetics.' Seamus Heaney, Independent on Sunday 'The triumph of this learned, scrupulously detailed and persuasive biography is that it brings the reader as near as it is perhaps possible to come to living Hopkins' life, to sensing the mysterious crushing pressures that were for him intimately bound up with the richness and complexity of his writing.' Hilary Spurling, Daily Telegraph
One of the most powerful poets of his generation consolidates his reputation as an exceptionally forthright and astringent critic in this book that analyzes the relationship between English-language literature, especially poetry, and nineteenth and twentieth-century politics. Tom Paulin's criticism stays on track, always responsive to a work's characteristic genius and sensitive to its social setting. Each of these essays--on poets ranging from Robert Southey and Christina Rossetti to Philip Larkin, from John Clare to Elizabeth Bishop and Ted Hughes, with a few excursions into the poetry of Eastern Europe for contrast--is informed by a love for poetry and a lively attention to detail. At every turn, Paulin demonstrates the intricate connection between the private imagination and society at large, simultaneously illuminating the kinship between the literature of the past and of the present. He also relates the poetry to themes of nationhood and to ideas about orality, speech rhythms, and vernacular background. Minotaur exemplifies the sort of general, accessible criticism of the arts that will interest a wide range of readers.