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A collection of revised essays which appeared previously in various journals. Presents the thesis that "Jewhatred" is a philosophic question, founded in idolatry. Modern academic scholarship is historicist rather than philosophic, and "is therefore unprepared to consider the possibility that the hatred of Judaism may be a form of idol worship". Contends that American liberalism is grounded in the ideas of Ralph Waldo Emerson on freedom and that Emerson was an antisemite who understood that Judaism was an obstacle to unbridled freedom. also discusses Hitler's ideas in terms of his aspirations toward absolute freedom (which leads ultimately to self-annihilation), and Nazism as the ultimate form of idolatry, and their antisemitism stemming from Judaism's opposition to these goals.
After 1500, as Catholic Europe fragmented into warring sects, evidence of a pagan past came newly into view, and travelers to distant places encountered deeply unfamiliar visual cultures, it became ever more pressing to distinguish between the sacred image and its opposite, the 'idol'. Historians and philosophers have long attended to Reformation charges of idolatry - the premise for image-breaking - but only very recently have scholars begun to consider the ways that the idol occasioned the making no less than the destruction. The present book focuses on how idols and ideas about them matter for the history of early modern objects produced around the globe, especially those created in the context of an exchange or confrontation between an 'us' and a 'them'. Ranging widely within the early modern period, the volume contributes to the project of globalizing the study of European art, bringing the continent's commercial, colonial, antiquarian, and religious histories into dialogue. Its studies of crosses, statues on columns, wax ex-votos, ivories, prints, maps, manuscripts, fountains, banners, and New World gold all frame Western 'art' simultaneously as an idea and as a collection of real things, arguing that it was through the idol that object-makers and writers came to terms with what it was that art should be, and do.
The music industry has been waging some very significant battles in recent years, reacting to numerous inter-related crises provoked by globalization, digitalization and the ever more extensive commercialization of public culture. These struggles are viewed by many as central to the survival of the central mediators in the consumption of popular music. These battles are not just against piracy and the sharing of digital song files on the internet. The music industry is also struggling to find ways to compete or integrate with many other forms of entertainment, including films, television programmes, mobile phones, DVDs and video games in an extremely crowded communications environment. The battles currently being fought by the music industry are about nothing less than its continued ability to create and maintain specific kinds of profitable relationships with consumers. This book presents two inter-related cases of crisis and opportunity: the music industry's epic struggle over piracy and the 'Idol' phenomenon. Both are explicit attempts to control and justify the particular ways in which the music industry makes money from popular music through specific kinds of relationships with consumers. The battles over piracy have been fought with a remarkable collection of campaigns consisting of advice, coercion and argument about what is or is not the best way to consume music. From these complicated and often contradictory campaigns we form an unusually clear picture of what many within the music industry imagine their industry to be. In a complementary way, 'Idol' works to demonstrate the joy and pleasure of consuming popular music the 'right' way. By creating a series of intertwined relationships with consumers around multiple sites of consumption, incorporating television, radio, live performance, traditional print media campaigns, text messaging and all manner of internet-based systems of communication and 'fan management,' the producers of 'Idol' present an ideal relationship between musicians and audiences. Instead of focusing on selling CDs, the music industry's digital Achilles' heel, 'Idol' has given the music industry an integrated platform for displaying its expanded palette of products and venues for consumption. When understood in specific relation to the battle against piracy, Fairchild's analysis of 'Idol' and the emerging promotional cultures of the music industry it exhibits shows how multiple sites of consumption, and attempts to mediate and control the circulation of popular music, are being used to combat the foundational challenges facing the music industry.
In 1 Cor 8-10, Paul provides instruction about interactions with idols, and his practical instruction is based on his theology, which was adopted from Hellenistic Judaism and adapted radically in the light of Jesus Christ. Trent A. Rogers shows that understanding Paul's ethical reasoning is helped significantly by understanding how he and his predecessors represent God in their arguments. - back of book.
An idol is a good thing. It is good because God created it. Nothing exists that God did not create and God created all things good. So sex can be an idol, but before it was an idol it was a good creation of God. Materialism is an idol, but to have a material world was God's idea in the first place. Workaholism is an idol, but work is itself a good gift of God. What turns these good gifts of God into idols is what we have done with them. So we have common forms of idolatry expressed in consumerism, individualism, narcissism, careerism, and hedonism; while there are less familiar expressions found in omnism, fatalism, Gnosticism, relativism, positivism, and reductionism. We have put these and other things on a pedestal and made them into mini-gods. In the end they fail to deliver what they promise. These twelve mediations on a scriptural passage by faculty members of Wycliffe College, Toronto, emphasize that the good news is that God can redeem idols. Each one can be restored to its proper place in God's created order and placed under God's authority.
This historical and exegetical investigation strongly challenges the widely held view that Paul regarded idol food as a matter of indifference, to be avoided only for the sake of the spiritual health of the weak. An exhaustive treatment of early Christian material shows that early authors were deeply influenced by Paul's discussion in 1 Corinthians 8-10, and yet they were totally unaware of the subsequent traditional understanding that Paul regarded idol food as indifferent. Even those who advocated eating idol food did not once appeal to Paul's discussion for support. An alternative understanding is proposed: Paul considers conscious consumption of idol food a denial of one's allegiance to Christ. One must avoid idol food if, and only if, it is identified as such.
The story of Paul's visit to the city of Athens with its speech delivered before the Areopagus council is one of the best-known and most-celebrated passages of the Acts of the Apostles. Being the only complete example of an apostolic address to "pure pagans" recorded, it has consistently attracted the attention of historians, biblical scholars, theologians, missionaries, apologists, artists, and believers over the centuries. Interpretations of the pericope are many and variegated, with opinions ranging from deeming the speech to be a foreign body in the New Testament to acclaiming it as the ideal model of translation of the Christian kerygma into a foreign idiom. At the heart of the debate is whether the various parts of the speech must be understood as Hellenistic or biblical in nature--or both. Paul Against the Idols defends and develops an integrated contextual study of the episode. Reading the story in its Lukan theological, intertextual, narrative, linguistic, and historical context enables an interpretation that accounts for its apparent ambivalence. This book thus contributes to the ongoing hermeneutical and exegetical scholarly discussions surrounding this locus classicus and suggests ways in which it can contribute to a Christian theology of religions and missiology.
In the midst of acne, social anxiety and training bras are the teen idols that make adolescent life a little more bearable. Whether their cutouts are plastered on bedroom walls or hidden behind locker doors, there is no denying the impact of these stars on young women. This collection of new essays explores with tenderness and humor the teen crushes of the past 60 years--from Elvis to John Lennon to Whitney Houston--who have influenced the choices of women, romantically or otherwise, well into adulthood.