Victorian Art Criticism and the Woman Writer by John Paul M. Kanwit examines the development of specialized art commentary in a period when art education became a national concern in Britain. The explosion of Victorian visual culture--evident in the rapid expansion of galleries and museums, the technological innovations of which photography is only the most famous, the public debates over household design, and the high profile granted to such developments as the Aesthetic Movement--provided art critics unprecedented social power. Scholarship to date, however, has often been restricted to a narrow collection of male writers on art: John Ruskin, Walter Pater, William Morris, and Oscar Wilde. By including then-influential but now lesser-known critics such as Anna Jameson, Elizabeth Eastlake, and Emilia Dilke, and by focusing on critical debates rather than celebrated figures, Victorian Art Criticism and the Woman Writer refines our conception of when and how art criticism became a professional discipline in Britain. Jameson and Eastlake began to professionalize art criticism well before the 1860s, that is, before the date commonly ascribed to the professionalization of the discipline. Moreover, in concentrating on historical facts rather than legends about art, these women critics represent an alternative approach that developed the modern conception of art history. In a parallel development, the novelists under consideration--George Eliot, Charlotte Brontë, Anne Brontë, and Elizabeth Gaskell--read a wide range of Victorian art critics and used their lessons in key moments of spectatorship. This more inclusive view of Victorian art criticism provides key insights into Victorian literary and aesthetic culture. The women critics discussed in this book helped to fashion art criticism as itself a literary genre, something almost wholly ascribed to famous male critics.

Every photographer knows the moment of truth, and every picture tells a story. Over the past four decades, Paul Natkin has had a front-row seat for music history, attending over 10,000 shows and concerts to chronicle the excitement and excess of the music industry. Since the 1970s, he has photographed most of the major music stars of the last half of the 20th century, shooting album covers for Ozzy Ozbourne and Johnny Winter and countless magazine covers, including Newsweek, People, Spin and Ebony. The Moment of Truth is Natkin's documentary as a witness to the music industry during his illustrious 40-plus years as a photographer and fan.

Ranks the Apostle Paul as "one of the most powerful and seminal minds of the first or any century," and argues that we can now sketch with confidence a new and more nuanced picture of Paul and the radical way in which his encounter with Jesus redefined his life, his mission and his expectations for a world made new in Christ. Reprint.

The authors, writing as scholars of communication and media, demonstrate how God's great gifts of media and technology can rob us of everyday Sabbath and impede spiritual growth if not faithfully stewarded through a process described as mindful media attachment. Mindful media attachment helps to promote the "holy habits" of sacred intentionality, sacred interiority, and sacred identity. These "three sacreds," which arise from a proper understanding of the "grammar and language" of media and technology, ultimately allow us to avoid treating media and technology as ends in and of themselves and to avoid divided affections that drain energy, purpose, and kingdom service.

Can someone please explain this "New Perspective on Paul"? Where did it come from and will it help or hinder Christian interpreters to grasp the apostle's writings more clearly? In The New Perspective on Paul: An Introduction, Kent Yinger provides concise, readable, and authoritative answers to these and other questions currently exercising students of Paul.

Johann Sebastian Bach – celebrated pipe organist, court composer and master of sacred music – was also a technical pioneer. Working in Germany in the early eighteenth century, he invented new instruments and carried out experiments in tuning, the effects of which are still with us today. Two hundred years later, a number of extraordinary musicians have utilised the music of Bach to thrilling effect through the art of recording, furthering their own virtuosity and reinventing the composer for our time. In Reinventing Bach, Paul Elie brilliantly blends the stories of modern musicians with a polyphonic account of our most celebrated composer’ s life to create a spellbinding narrative of the changing place of music in our lives. We see the sainted organist Albert Schweitzer playing to a mobile recording unit set up at London’ s Church of All Hallows in order to spread Bach’ s organ works to the world beyond the churches, and Pablo Casals’ s Abbey Road recordings of Bach’ s cello suites transform the middle-class sitting room into a hotbed of existentialism; we watch Leopold Stokowski persuade Walt Disney to feature his own grand orchestrations of Bach in the animated classical-music movie Fantasia – which made Bach the sound of children’ s playtime and Hollywood grandeur alike – and we witness how Glenn Gould’ s Goldberg Variations made Bach the byword for postwar cool. Through the Beatles and Switched-on Bach and Gö del, Escher, Bach – through film, rock music, the Walkman, the CD and up to Yo-Yo Ma and the iPod – Elie shows us how dozens of gifted musicians searched, experimented and collaborated with one another in the service of a composer who emerged as the prototype of the spiritualised, technically savvy artist.

In his epistles, St. Paul sounded a universalism that has recently been taken up by secular philosophers who do not share his belief in Christ, but who regard his project as centrally important for contemporary political life. The Pauline project -- as they see it -- is the universality of truth, the conviction that what is true is true for everyone, and that the truth should be known by everyone. In this volume, eminent New Testament scholars, historians, and philosophers debate whether Paul's promise can be fulfilled. Is the proper work of reading Paul to reconstruct what he said to his audiences? Is it crucial to retrieve the sense of history from the text? What are the philosophical undercurrents of Paul's message? This scholarly dialogue ushers in a new generation of Pauline studies.

A renowned scholar calls for a change of direction for the study of Jesus in the 21st century.