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WINNER OF THE 2020 PULITZER PRIZE FOR POETRY Finalist for the 2019 National Book Award "100 Notable Books of the Year," The New York Times Book Review One Book, One Philadelphia Citywide Reading Program Selection, 2021 "By some literary magic—no, it's precision, and honesty—Brown manages to bestow upon even the most public of subjects the most intimate and personal stakes."—Craig Morgan Teicher, “'I Reject Walls': A 2019 Poetry Preview” for NPR “A relentless dismantling of identity, a difficult jewel of a poem.“—Rita Dove, in her introduction to Jericho Brown’s “Dark” (featured in the New York Times Magazine in January 2019) “Winner of a Whiting Award and a Guggenheim Fellowship, Brown's hard-won lyricism finds fire (and idyll) in the intersection of politics and love for queer Black men.”—O, The Oprah Magazine Named a Lit Hub “Most Anticipated Book of 2019” One of Buzzfeed’s “66 Books Coming in 2019 You’ll Want to Keep Your Eyes On” The Rumpus poetry pick for “What to Read When 2019 is Just Around the Corner” One of BookRiot’s “50 Must-Read Poetry Collections of 2019” Jericho Brown’s daring new book The Tradition details the normalization of evil and its history at the intersection of the past and the personal. Brown’s poetic concerns are both broad and intimate, and at their very core a distillation of the incredibly human: What is safety? Who is this nation? Where does freedom truly lie? Brown makes mythical pastorals to question the terrors to which we’ve become accustomed, and to celebrate how we survive. Poems of fatherhood, legacy, blackness, queerness, worship, and trauma are propelled into stunning clarity by Brown’s mastery, and his invention of the duplex—a combination of the sonnet, the ghazal, and the blues—is testament to his formal skill. The Tradition is a cutting and necessary collection, relentless in its quest for survival while reveling in a celebration of contradiction.
Not so long ago it would have been fair to say that the Catholic Church and the Catholic faith determined human life and social existence, more or less unquestioned, in Flanders and in a large part of Western Europe. The Catholic faith community in Flanders today, however, is struggling with the fact that the transmission of the Christian tradition has been flagging in recent years. This has not only led to diminished faith engagement and a massive decline in church attendance, it has also had its effects in the cultural domain: culture has become de-traditionalised; 'traditional' Christian culture is worn out. Even convinced Christians are having problems reflecting on the plausibility of their faith, precisely because of the chasm that has opened up between faith and culture. The author of the present study argues that every new context challenges the Christian tradition to recontextualise its presentation of meaning and purpose in a cogent and credible fashion. Christians today do themselves a disservice when they withdraw into a world of absolute self-justification. At the same time, however, the author avoids any form of appeal for an extensive adaptation to the postmodern context. Only a new dialogue between tradition and culture, respectful of (and indeed thanks to) the growing division between both, can claim to offer a future. In the first part of the book the author provides a pithy description of the vicissitudes of the Christian tradition in modernity and postmodernity. Against this background, he attempts to clarify the situation in which the Christian tradition finds itself today. The second part of the book is devoted to an analysis of the actual context with a view to establishing points of intersection on the basis of which the dialogue between faith and culture may be revivified. The third part of the book endeavours to provide this dialogue with concrete form. The reader is introduced to a challenging image of Jesus, an image that is contextual and theologically motivated, prior to being invited by the author into a reopened reflection on God. The volume concludes by drawing renewed attention to the place of the Christian faith in relation to the other world religions. The results of Boeve's study reveal that Christians do indeed have the capacity to reflect on their faith in a credible and relevant manner in relation to the actual context in which they find themselves and without relapsing into the extremes of traditionalism or relativism. Lieven Boeve is professor of Fundamental Theology at the Faculty of Theology, K.U.Leuven (Belgium). He is also co-ordinator of the research group Theology in a postmodern context.
This book interrogates anew the phenomenon of tradition in a dialogical debate with a host of Western thinkers and critical minds. In contrast to the predominantly Western approaches, which look at traditions (Western and non-Western) from a predominantly (Western) modernist perspective, this book interrogates, from an intercultural perspective, the transnational and transcultural consecration, translation, (re)invention, and displacement of traditions (theatrical and cultural) in the aesthetic-political movement of twentieth-century theatre and performance, as exemplified in the case studies of this book. It looks at the question of traditions and modernities at the centre of this aesthetic-political space, as modernities interculturally evoke and are haunted by traditions, and as traditions are interculturally refracted, reconstituted, refunctioned, and reinvented. It also looks at the applicability of its intercultural perspective on tradition to the historical avant-garde in general, postmodern, postcolonial, and postdramatic theatre and performance and to the twentieth-century "classical" intercultural theatre and the twenty-first-century "new interculturalisms" in theatre and performance. To conclude, it looks at the future of tradition in the ecology of our globalized theatrum mundi and considers two important interrelated concepts, future tradition and intercultural tradition. This book will be of great interest to students and scholars in performance studies.
Critically evaluates assumptions of creativity by exploring the dynamism of southern Vietnamese traditional music For artists, creativity plays a powerful role in understanding, confronting, and negotiating the crises of the present. Seeding the Tradition explores conflicting creativities in traditional music in Hõ Chí Minh City, the Mekong Delta, and the Vietnamese diaspora, and how they influence contemporary southern Vietnamese culture. The book centers on the ways in which musicians of đón ca tài tù, a "music for diversion," practice creativity or sáng tạo in early 21st-century southern Vietnam. These musicians draw from long-standing theories of primarily Daoist creation while adopting strategically from and also reacting to a western neo-liberal model of creativity focused primarily—although not exclusively—on the individual genius. They play with metaphors of growth, development, and ruin to not only maintain their tradition but keep it vibrant in the rapidly-shifting context of modern Vietnam. With ethnographic descriptions of zither lessons in Hõ Chi Minh City, outdoor music cafes in Cãn Thơ, and television programs in Đõng Tháp, Seeding the Tradition offers a rich description of southern Vietnamese sáng tạo and suggests revised approaches to studying creativity in contemporary ethnomusicology.
The traditions about Jesus and his teaching circulated in oral form for many years, continuing to do so for decades following the writing of the New Testament Gospels. James Dunn is one of the major voices urging that more consideration needs to be given to the oral use and transmission of the Jesus tradition as a major factor in giving the Synoptic tradition its enduring character.