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'If there's doubt, I can't help but worry. It's life or death. It's not as simple as the flick of a coin.' Stephanie dreams of being accepted into art school but questions her talent. She has a major crush on the hottest boy in school and is desperate for him to notice her. But when Steph's mother unexpectedly becomes ill, Steph meets Richard and feels an instant attraction, but he is damaged and finds it difficult to share the events surrounding his brother's death. Steph struggles to work through the complexities of life, love and death. She becomes increasingly obsessed with helping her mother before it's too late. When things spin out of control, she thinks she's going crazy... "... an effective page-turner that personalises and dramatises the important social issue of organ donation, in a very readable, resonant style." - Stephen Measday, author "... focuses on the important issues of organ donation and transplantation without overloading it with too much information." - Julie Edwards, Transplant Australia "Overall, an excellent way to introduce a difficult subject in a sensitive way." - Dr Robert Brooks
Preaching – described here in Johan Cilliers’s groundbreaking new book as the heart and soul of the church – requires both constant revision and fidelity to principles. Hence this book’s subtitle: “Revisiting the basic principles of preaching”. From various theoretical and practical viewpoints, Cilliers critically examines the state and future of preaching and deals boldly with contentious issues such as the validity of legalistic and moralistic preaching.
An exploration of the thirteenth-century law code known as Siete Partidas Conceived and promulgated by Alfonso X, King of Castile and León (r. 1252-1282), and created by a workshop of lawyers, legal scholars, and others, the set of books known as the Siete Partidas is both a work of legal theory and a legislative document designed to offer practical guidelines for the rendering of legal decisions and the management of good governance. Yet for all its practical reach, which extended over centuries and as far as the Spanish New World, it is an unusual text, argues Jesús R. Velasco, one that introduces canon and ecclesiastical law in the vernacular for explicitly secular purposes, that embraces intellectual disciplines and fictional techniques that normally lie outside legal science, and that cultivates rather than shuns perplexity. In Dead Voice, Velasco analyzes the process of the Siete Partidas's codification and the ways in which different cultural, religious, and legal traditions that existed on the Iberian Peninsula during the Middle Ages were combined in its innovative construction. In particular, he pays special attention to the concept of "dead voice," the art of writing the law in the vernacular of its clients as well as in the language of legal professionals. He offers an integrated reading of the Siete Partidas, exploring such matters as the production, transmission, and control of the material text; the collaboration between sovereignty and jurisdiction to define the environment where law applies; a rare legislation of friendship; and the use of legislation to characterize the people as "the soul of the kingdom," endowed with the responsibility of judging the stability of the political space. Presenting case studies beyond the Siete Partidas that demonstrate the incorporation of philosophical and fictional elements in the construction of law, Velasco reveals the legal processes that configured novel definitions of a subject and a people.
The study of the growth of early Christian intellectual life is of perennial interest to scholars. This volume advances discussion by exploring ways in which Christian writers in the second century did not so much draw on Hellenistic intellectual traditions and models, as they were inevitably embedded in those traditions. The volume contains papers from a seminar in Rome in 2016 that explored the nature and activity of the emergent Christian intellectual between the late first century and the early third century. The papers show that Hellenistic scholarly cultures were the milieu within which Christian modes of thinking developed. At the same time the essays show how Christian thinkers made use of the cultures of which they were part in distinctive ways, adapting existing traditions because of Christian beliefs and needs. The figures studied include Papias from the early part of the second-century, Tatian, Irenaeus, and Clement of Alexandria from the later second century. One paper on Eusebius of Caesarea explores the Christian adaptation of Hellenistic scholarly methods of commentary. Christian figures are studied in the light of debates within Classics and Jewish studies.
The history of the Jesus movement and earliest Christianity requires careful attention to the characteristics and peculiarities of oral and literate traditions. Understanding the distinctive elements of Greco-Roman literacy potentially has profound implications for the historical understanding of the documents and events involved. Concepts such as media criticism, orality, manuscript culture, scribal writing, and performative reading are explored in these chapters. The scene of Greco-Roman literacy is analyzed by investigating writing and reading practices. These aspects are then related to early Christian texts such as the Gospel of Mark and sections from Paul's letters.
A new, philosophically grounded theory of the voice—the voice as the lever of thought, as one of the paramount embodiments of the psychoanalytic object. Plutarch tells the story of a man who plucked a nightingale and finding but little to eat exclaimed: "You are just a voice and nothing more." Plucking the feathers of meaning that cover the voice, dismantling the body from which the voice seems to emanate, resisting the Sirens' song of fascination with the voice, concentrating on "the voice and nothing more": this is the difficult task that philosopher Mladen Dolar relentlessly pursues in this seminal work. The voice did not figure as a major philosophical topic until the 1960s, when Derrida and Lacan separately proposed it as a central theoretical concern. In A Voice and Nothing More Dolar goes beyond Derrida's idea of "phonocentrism" and revives and develops Lacan's claim that the voice is one of the paramount embodiments of the psychoanalytic object (objet a). Dolar proposes that, apart from the two commonly understood uses of the voice as a vehicle of meaning and as a source of aesthetic admiration, there is a third level of understanding: the voice as an object that can be seen as the lever of thought. He investigates the object voice on a number of different levels—the linguistics of the voice, the metaphysics of the voice, the ethics of the voice (with the voice of conscience), the paradoxical relation between the voice and the body, the politics of the voice—and he scrutinizes the uses of the voice in Freud and Kafka. With this foundational work, Dolar gives us a philosophically grounded theory of the voice as a Lacanian object-cause.
A systematic study of testimony rooted in contemporary continental philosophy and drawing on literary case studies. From analytic epistemology to gender theory, testimony is a major topic in philosophy today. Yet, one distinctive approach to testimony has not been fully appreciated: the recent history of contemporary continental philosophy offers a rich source for another approach to testimony. In this book, Gert-Jan van der Heiden argues that a continental philosophy of testimony can be developed that is guided by those forms of bearing witness that attest to limit experiences of human existence, in which the human is rendered mute, speechless, or robbed of a common understanding. In the first part, Van der Heiden explores this sense of testimony in a reading of several literary texts, ranging from Plato’s literary inventions to those of Kierkegaard, Melville, Soucy, and Mortier. In the second part, based on the orientation offered by the literary experiments, Van der Heiden offers a more systematic account of testimony in which he distinguishes and analyzes four basic elements of testimony. In the third part, he shows what this analysis implies for the question of the truth and the truthfulness of testimony. In his discussion with philosophers such as Heidegger, Derrida, Lyotard, Agamben, Foucault, Ricoeur, and Badiou, Van der Heiden also provides an overview of how the problem of testimony emerges in a number of thinkers pivotal to twentieth- and twenty-first-century thought. “The Voice of Misery is a special book. Van der Heiden has presented an argument that is poised to challenge discourse in analytic philosophy, reshape approaches in continental philosophy, and give new orientation to interdisciplinary research in continental philosophy and literary theory. The book will find a large readership across the discipline of philosophy and in several areas of the humanities.” — Theodore George, author of Tragedies of Spirit: Tracing Finitude in Hegel’s Phenomenology
The Collected Works of W. B. Yeats, Volume VIII: The Irish Dramatic Movement is part of a fourteen-volume series under the general editorship of eminent Yeats scholars Richard J. Finneran and George Mills Harper. This complete edition includes virtually all of the Nobel laureate's published work, in authoritative texts and with extensive explanatory notes. Edited by the distinguished Yeats scholars Mary FitzGerald and Richard J. Finneran, The Irish Dramatic Movement gathers together -- for the first time -- all of the poet's time-honored essays on drama and the groundbreaking movement that led to the enduring Irish theater of today. Although the reputation of W. B. Yeats as one of the preeminent writers of the twentieth century rests primarily on his poetry, drama and the theatre were among his abiding concerns. Indeed, in 1917 he wrote, "I need a theatre; I believe myself to be a dramatist." Here in this volume is the collection of all his major dramatic criticism for the years 1899-1919, including previously uncollected material. A practicing dramatist himself, Yeats had strong convictions about the goals of the Irish theater and the appropriate plays to be produced. The essays in this collection address many topics, from the turbulent early years of what became the Abbey Theatre to the controversies over the plays of John Millington Synge and the relationship between drama and nationalism. Also evident are Yeats's judgments on numerous plays, playwrights, and productions, both in Irish and in English. FitzGerald and Finneran's volume includes an Introduction and a History of the Text, as well as copious but unobtrusive annotation. The Irish Dramatic Movement is an essential volume for both readers of Yeats and students of the early years of twentieth-century theater.
In the words of Saint Augustine, the Bible is long, complicated, and difficult to read. Orange Proverbs & Purple Parables is a book about reading the Bible. How does one become a more spiritually discerning and critically appreciative reader of the Holy Scriptures? What does it take to become a better interpreter of biblical texts? This book explores wide-ranging approaches and considerations germane to the enterprise of reading. The catch phrase used throughout the book is that of reading the Holy Scriptures as scripture. What goes into reading the Bible as scripture? What are some of the major elements inherent in this endeavor that should be of concern to the one who aspires to become a deep, thoughtful reader and an effective interpreter? This book weaves through a labyrinth of characters and disciplines as it explores this enterprise of reading the Holy Scriptures. The likes of Chomsky, Augustine, neuroscience, Barth, linguistics, theological interpretation, Origen, metaphor theory, devotional reading, and Jerome, along with many more people and fields of inquiry, are all garnered to encourage the reader in an exploration of the enterprise of reading the Holy Scriptures.