What does art have to do with faith? For many Christians, paintings, films, music, and other forms of art are simply used for wall decoration, entertaining distraction, or worshipful devotion. But what if the arts played a more prominent role in the Christian life? In Discovering God through the Arts, discover how the arts can be tools for faith-building, life-changing spiritual formation for all Christians. Terry Glaspey, author of 75 Masterpieces Every Christian Should Know, examines: How the arts assist us in prayer and contemplation How the arts help us rediscover a sense of wonder How the arts help us deal with emotions How the arts aid theological reflection and so much more. Let your faith be enriched, and discover how beauty and creativity can draw you nearer to the ultimate Creator.

Et bredt amerikansk opslagsværk og referenceværk om krige, krigsførsel og krigskunst gennem tiderne, specielt om doktriner, og forskellige definitioner og opfattelser på disse gennem militærhistorien. Bogen har mange illustrationer (sort/hvide fotos) og er iøvrigt disponeret under følgende hovedoverskrifter: Fundamental concepts in the language of the military profession. Notes on the offensive, defensive and retrograde operations. From the Ancients to the gunpowder revolution. Gunpowder, renaissance and reason. The Age of Napoleon. From Napoleon through the American Civil War. To the Great War, the First World War. From the Great War to the Second World War. The Age of Small Wars and nuclear deterrence. Towards a more perfect understanding.

A Redemptive Theology of Art develops a biblical, systematic, and practical theology of aesthetics. It begins with the roots and ontology of aesthetics (vs. "art") and the architecture and narrative of affection and passion, their woes and their glory. Those who would search the Bible find little support for "art" as commonly conceived in the West. The language of aesthetics, applied to the maker’s intentions, the qualities of the work, and the responses of the audience, better addresses the questions of beauty, and better suits the discussion of human actions, beliefs, and culture than the language of art does. The Bible yields more consistent and helpful answers to questions about the broader category of aesthetics than it does to questions about art; leading in turn to better questions and a more practical and theological appreciation of human affections, beauty, and delight, and the many paths by which people, including Christians, pursue them. Using the categories and definitions from Scripture, Covington gives hope and help not only for those who labor in the arts, but for everyone who cares about the passions that motivate us. We were made for God's delight, and, though sin and bondage plague our passions, God can shape our fun, feelings, desires, affections and aversions. Feelings are neither objective nor subjective; they are redeemable. Borrowing key ideas from other Christian writers on the arts or aesthetics, Covington explores the connection between orthodox Protestant theology and a responsible, respectful treatment of arts, artists, and all aesthetic fields of human work and speech.

No other nation has invested as much intellectual capital in the study of war as has the Soviet Union over the last six decades, and the doctrine, strategy, and tactics that have been developed by Soviet theoreticians are bound to guide any future Soviet military action. The Soviet Art of War makes available to Western readers selections from the most significant and influential Soviet military writings from 1917 to the present. The Scotts have examined thousands of Soviet military publications, including the restricted journal of the Soviet General Staff, Voyennaya Mysl', to make this book the most comprehensive account of Soviet military theory and practice yet published. The papers they have chosen thoroughly illustrate the development of the basic features of Soviet military art, from the days of trench warfare to the era of the nuclear battlefield. These documents demonstrate the emphasis on surprise, on deception, on mass deep penetration of enemy defenses, and on a unified strategy for all services. They also show the forms of military action—destruction and attrition, defense and offense, maneuver and position-as seen through the eyes of leading Soviet marshals, generals, and admirals. The usefulness of this material is further enhanced by the Scotts' commentary and their analysis of each group of readings.

Meeting House Essays in a series of papers reflecting on the mystery, beauty and practicalities of the place of worship. This popular series was begun in 1991, and each resource focuses on a particular aspect of space, design or materials and how they relate to the liturgy.

Illustrated by classic American paintings and photographs, and accompanied with a prescient new appraisal, this stunning publication on Emerson’s seminal 1836 essay is at once a meditation on the ways artists influence each other and a timely cri de coeur to cherish and preserve America’s landscape. Widely considered to be the foundational text of the American landscape tradition, Ralph Waldo Emerson’s Nature urges Americans to value and immerse themselves in their country’s landscape, to build American culture from America's nature. Nearly two centuries after the original publication of the essay Nature by Emerson, this captivating book by critic and historian Tyler Green brings together a selection of artistic works in dialog with Emerson’s text for the first time. Green also offers his own fascinating take on Nature through new research into how the essay was informed by Emerson’s experiences of art and, in turn, how it informed American art well into the twentieth century. The result is a unique melding of essay, art, and ideas that will draw new readers to Emerson’s writings, while also introducing a fresh perspective on a critical contribution to the American canon and showing what impact Emerson's text still has for the US to this day.

In this study of the rare twelfth-century treatise On Diverse Arts, Heidi C. Gearhart explores the unique system of values that guided artists of the High Middle Ages as they created their works. Written in northern Germany by a monk known only by the pseudonym Theophilus, On Diverse Arts is the only known complete tract on art to survive from the period. It contains three books, each with a richly religious prologue, describing the arts of painting, glass, and metalwork. Gearhart places this one-of-a-kind treatise in context alongside works by other monastic and literary thinkers of the time and presents a new reading of the text itself. Examining the earliest manuscripts, she reveals a carefully ordered, sophisticated work that aligns the making of art with the virtues of a spiritual life. On Diverse Arts, Gearhart shows, articulated a distinctly medieval theory of art that accounted for the entire process of production—from thought and preparation to the acquisition of material, the execution of work, the creation of form, and the practice of seeing. An important new perspective on one of the most significant texts in art history and the first study of its kind available in English, Theophilus and the Theory and Practice of Medieval Art provides fresh insight into the principles and values of medieval art making. Scholars of art history, medieval studies, and Christianity will find Gearhart’s book especially edifying and valuable.

Is the Trinity biblical? Is it necessary to affirm God as three persons in one being? Despite a renewed interest in the Trinity in recent years, many Christians, including most evangelicals, either relegate the Son of God to creaturely status or repudiate the personhood of the Holy Spirit. In addition, numerous scholars affirm that the doctrine of the Trinity is not clearly revealed in Scripture. Is the Trinity merely a philosophical construction, or is it essential to orthodox Christianity? Drawing on hermeneutics and biblical and historical theology, Malcolm Yarnell crafts a careful and clear response to these issues through exegesis of pivotal texts from both testaments. He meticulously examines the foundational Hebrew confession known as the Shema, Matthew's great commission, the divine relations in the Gospel of John, Paul's Corinthian benediction, the opening hymn of Ephesians, and the throne room vision of the Apocalypse. Also considered are the relationships of language to revelation and history to metaphysics, along with recent appeals to recover patristic exegesis and the Christian imagination. He also challenges the reader to discern the implications of the Trinity for personal salvation as well as corporate worship.

These questions are irresistible to ponder. The Bible says, "For who has known the mind of the Lord? Or who has been His counselor? Or who has ever first given to Him, and has to be repaid? For from Him and through Him and to Him are all things" (Romans 11:34-36a, Holman CSB).

Before the Renaissance and Reformation, holy images were treated not as "art" but as objects of veneration which possessed the tangible presence of the Holy. the faithful believed that these images served as relics and were able to work miracles, deliver oracles, and bring victory to the battlefield. In this magisterial book, Hans Belting traces the long history of the sacral image and its changing role--from surrogate for the represented image to an original work of art--in European culture. Likeness and Presence looks at the beliefs, superstitions, hopes, and fears that come into play as people handle and respond to sacred images, and presents a compelling interpretation of the place of the image in Western history. -- Back cover