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La mayor&í a de nosotros somos personas corrientes que tenemos d&í as buenos y d&í as malos. Nuestras vidas son radicalmente ordinarias y poco emocionantes. Eso significa que son la clase de vidas que a Dios le fascinan. Mientras que el mundo alaba la belleza, el poder y la riqueza, Dios oculta su gloria en lo simple, lo trivial, lo insensato, y act&ú a en personas, cosas y lugares sin ning&ú n esplendor.En nuestra é poca de adoraci&ó n a los influentes y de presunci&ó n virtual, esta es una forma novedosa, incluso transformadora, de entender a Dios y nuestro lugar en su creaci&ó n. Nos insta a apreciar una vida de sencillez, a amar a aquellos a los que el mundo ignora, a trabajar por la gloria de Dios antes que la nuestra. Y demuestra que Dios siempre ha sido el Se&ñ or de la cruz: un Salvador que esconde su gracia en lugares sin encanto ni gloria.Tu Dios es demasiado glorioso les recuerda a los lectores que, si bien una vida tranquila puede parecerle insulsa al mundo, Dios tiende a usar a las personas comunes y corrientes para llevar a cabo su labor m&á s importante.Al final de cada cap&í tulo, Chad Bird invita al lector a profundizar en la b&ú squeda de la vida fiel y ordinaria con preguntas de estudio para uso tanto personal como grupal.
"Ask anything in my name, I will do it." (John 14:14) Charles H. Spurgeon supplies daily deposits of God's promises into the reader's personal bank of faith. He urges the reader to view each Bible promise as a check written by God, which can be cashed by personally endorsing it and receiving the gift it represents!
A Chilean writer named Julio and his wife, Gloria, are at a low point in their lives. Constantly bickering, the pair are beset by worries about money, their writing, and their son (who may or may not be plying the oldest profession in Marrakesh). When Julio's boyhood best friend, now a famous artist, lends the couple his luxurious Madrid apartment for the summer, it is an escape for both - but in particular for Julio, who fantasizes about the garden next door and the erotic life of the lovely young aristocratic woman who inhabits it. But Julio's life - and career - unravel In Madrid: he is rebuffed by a famous literary agent, Nuria Monclus, who detests him and his novel; his son's friend from Marrakesh moves in and causes havoc; and Gloria begins to drink. In the face of pitiless adversity, Julio's talent inexorably begins to fade. The garden next door, however, is also Gloria, who has been doing some creating of her own. It is this twist that transforms Donoso's brilliant satire of the writer's life into something even greater: a carefully crafted and bitteily comic meditation on gardens, deceit, and the nature of a writer's muse.
Magicians, necromancers and astrologers are assiduous characters in the European golden age theatre. This book deals with dramatic characters who act as physiognomists or palm readers in the fictional world and analyses the fictionalisation of physiognomic lore as a practice of divination in early modern Romance theatre from Pietro Aretino and Giordano Bruno to Lope de Vega, Calderón de la Barca and Thomas Corneille.
"A considerable tour de force by any standard." ?New York Times Book Review"
In 1978, Nelson Goodman explored the relation of “worlds” to language and literature, formulating the term, “worldmaking” to suggest that many other worlds can as plausibly exist as the “world” we know right now. We cannot catch or know “the world” as such: all we can catch are the world versions - descriptions, views or workings of the world – that are expressed in symbolic systems (words, music, dancing, visual representations). Over the twenty-five years since then, creative works have played a crucial role in realigning, reshaping and renegotiating our understandings of how worlds can be made and preserved in the face of globalizing trends. The volume is divided into three sections, each engaging with worlds as malleable constructs. Central to all of the contributions is the question: how can we understand the relationships between natural, political, cultural, fictional, literary, linguistic and virtual worlds, and why does this matter?