Its inspiration makes the Scripture a Divine Light which can never fail. Men may fail it and turn their backs upon it; but all undimmed it shines on throughout the centuries. Clearly, our attitude to a man's word is our attitude to him. But how much more does God's word represent God. When our first parents withheld trust in what God had said, little did they realize they were abandoning God himself. No one can maintain faith in the Father, and at the same time reject or ignore his word. How remarkable that the very first assault of evil on this earth was upon what God had said! "Yea, hath God said? . . . Lest ye die . . . Ye shall not surely die." This Satanic line of opposition has never ceased from that day to this. All onset upon the Bible runs true to form. The van of the devil's army is still blasting away at the Scriptures. However, this long war upon the word will completely fail despite all Satan's wiles and persistence. This mighty conflict of the ages will end in the utter rout of all the enemies of Holy Writ. "The truth of Jehovah endureth for ever" (Ps. 117: 2). "But the Word of the Lord abideth for ever" (1 Peter 1: 25).
While Plato extols inspired poetry (as opposed to poetry produced by means of technique), Aristotle conceives of poetry only in terms of technê. Underlying the opposition between inspiration and technique are two different approaches to 'form': inspiration is concerned with the impression of ideas or forms within the poet's psyche (the author's forma mentis), whereas technique deals with the transposition of the artist's idea into the material form of the work (the forma operis). This dual view of form, and of its complex relation to matter, may be said to lie at the basis of a dual approach to aesthetic issues - a psychological and a textual one. Taking their cue from this opposition, the essays gathered here explore some of the most momentous phases in the history of aesthetics, from Graeco-Roman philosophy and oratory to Renaissance poetry and literary criticism, from neoclassical poetics to Romantic and Victorian views on inspired visions, to recent issues in neuroaesthetics, philosophy of art and literary linguistics. In so doing, they collectively point to the irremediable and continuing dualism of a critical tradition that has alternately emphasized the ideal elements of beauty and the material constituents of art.
This book is a study of the complex relationship between matter and idea that shaped the nineteenth-century culture of art, and that in turn determined the course of still-current accounts of art's nature and value. Fundamental questions about the effects of material conditions on the creation and reception of art arose as early as the nineteenth century, and put important pressures on later eras. The place of class distinctions in the making and reception of art, the relationship between copy and original, the effects of display on art appreciation, even the role of pleasure itself: this book treats these and related issues as productive conceptual challenges with an unresolved relationship to matter at their core. Drawing on recent scholarship on the history of art and its institutions, Material Inspirations places cultural developments such as the emergence of new sites for exhibition and the astonishing proliferation of printed reproductions alongside a wide range of texts including novels, poems, travel guidebooks, compendia of antiquities, and especially the great line of critical writing that emerged in the period. The study vivifies a dynamic era, which is still too often seen as static and unchanging, by emphasizing the transformations taking place throughout the period in precisely those areas that have appeared to promise little more than repetition or continuity: collection, exhibition, and reproduction. The book culminates with the two great critics of the period, John Ruskin and Walter Pater, but it also includes close analysis of other prose writers, as well as poets and novelists ranging from William Blake to Robert Browning, George Eliot to Henry James. Significant developments addressed include the vogue for the representation of Old Masters in the first half of the century, ongoing innovations in the creation and diffusion of reproductions, and the emergence of the field of art history itself. At the heart of each of these the book identifies a material pressure shaping concepts, texts, and works of art.
The inspirational bestseller that ignited a movement and asked us to find our WHY Discover the book that is captivating millions on TikTok and that served as the basis for one of the most popular TED Talks of all time—with more than 56 million views and counting. Over a decade ago, Simon Sinek started a movement that inspired millions to demand purpose at work, to ask what was the WHY of their organization. Since then, millions have been touched by the power of his ideas, and these ideas remain as relevant and timely as ever. START WITH WHY asks (and answers) the questions: why are some people and organizations more innovative, more influential, and more profitable than others? Why do some command greater loyalty from customers and employees alike? Even among the successful, why are so few able to repeat their success over and over? People like Martin Luther King Jr., Steve Jobs, and the Wright Brothers had little in common, but they all started with WHY. They realized that people won't truly buy into a product, service, movement, or idea until they understand the WHY behind it. START WITH WHY shows that the leaders who have had the greatest influence in the world all think, act and communicate the same way—and it's the opposite of what everyone else does. Sinek calls this powerful idea The Golden Circle, and it provides a framework upon which organizations can be built, movements can be led, and people can be inspired. And it all starts with WHY.
In Paris in the late Fifties the Beat Generation writer William Burroughs and his sidekick Brion Gysin developed the cut-up method. It involved taking a piece of finished text and cutting it into pieces - then rearranging those pieces to create a new text or work of art. Burroughs wrote that: "When you cut into the present the future leaks out." The cut-up had a profound effect on music, writing, painting, and film. Devotees of the cut-up include David Bowie, Radiohead, and Kathy Acker. In addition to bringing together new work by new people, CUT UP! also salutes some better known 20th Century voices who kept the spirit of Burroughs and Gysin alive. Contributors include Kenji Siratori, Claude Pelieu, Nina Antonia, Billy Chainsaw, Cabell McLean, Mary Beach, Marc Olmsted, Allen Ginsberg, Spencer Kansa, Michael Butterworth, Robert Rosen, Nathan Penlington, Sinclair Beiles, Gary J. Shipley, D M Mitchell, and Edward S. Robinson.
The New children come in all varieties, Indigo, Crystal, Octarines, Magenta, Star and there will be many more. They all have one thing in common, they live, move and breathe in the reality of wholeness. They show us a new harmony, a tapestry of Divine Law. Any interruption in the way they process life with this harmonious flow and ebb of energy literally causes them to 'bounce off the walls'. There is need to understand the way their energy moves and functions, so it may be used in a productive way. This is a worldwide phenomenon. "New Children of Earth' reveals 22 "Creation Codes', rhythms of consciousness belonging to the New children, the way they move, function, maintain balance, accelerate their development and most important the way they bring knowledge into wisdom and love to humanity. This is break-through information on how children are born with an expanded spirit of wholeness for the creation of a new reality. This information helps parents and professionals deal with one of the most important issues of our times, our children and their multi-dimensional abilities. Presently, the two-dimensional way of teaching children is causing great confusion for them, resulting in ADHD and other psychological symptoms. Any interruption in the natural flow of information received, transmitted and translated causes the children to literally, 'climb the walls'. The souls coming to earth need us to help them activate these formless spiritual Cycles of Love to sustain their life's purpose. CODES The energy patterns of this new consciousness, provides us with codes, Creation Codes, birthed in the New children, in accordance with the love and harmony of Universal Law, expanding and in harmony with all galaxies. The coupling of polarity is bringing about a change in the way we engage with Universal Law. IMPULSE Together the codes are called, 'IMPULSE', which is the nature of this expanded system. The movements of each code weave the vibrations, pulses of sound and color as they flow in and out of the body. Each code can be done separately, however, when the codes are connected, they form a tapestry with a specific order and sequence, like a Mandela. The codes open up the phenomenon of the New children, showing us how to understand and experience them, using their way of learning to carry them forward. The codes help us move our consciousness into the future and thereby apply to everyone. They are diagnostic and or treatment tools. The pulses emanate from the heart of One directly into the heart of all creating unity, harmony and inter-connectedness. The properties of each code are presented pictorially with 22 drawings, which are done, showing children gesturing, making the information more understandable. Jean has three self-published publications: A New Art of Movement: Circle Math: Cycles of Love-Unfolding in the first year of life. She is presently working a fifth book; The Diamond of Education-What Kind Of Education Would Result If We Learned In The Way We Are Created? And the latest book on, "The Growing of a Child" These are all part of: New Children Creation Series This is a nonfiction manuscript, a positive self-help manual for parents and professionals who find themselves frustrated by children they do not always understand
Ten American scholars sketch the contemporary relevance of evangelical Christianity in this sweeping survey of the present century of theological debate. Reaching into major spheres of life and thought—theology, philosophy, ethics, science, history, education, biblical studies, apologetics, evangelism and preaching—they discuss familiar fields with an eye on the theological turmoil of our times. They confirm an uneasy feeling that the loss of inherited ideas and ideals by the West is due in part at least to the indifference and hostility to biblical Christianity spawned by Protestant Liberalism. But the neglect of evangelical theology during the past half century, and the tragic consequences of this for the West, is not their only emphasis, for the volume pinpoints evangelical emphases of permanent validity. It evaluates current contributions from the side of conservative Christianity to the present theological scene. It is a treasury of information about contemporary evangelical writers and writings. It sketches guidelines for effective evangelical impact. It provides a selective working bibliography in its ten fields of evangelical interaction. The volume is an indispensable tool for every minister and theological student seeking to keep abreast of the currents of relevant Christian thought. And it provides the alert church member eager to honor Christ as the center and end of all knowledge whit a wider appreciation of the relevance of the Christian message to the larger problems of culture and life.
From the beginning of time Satan has attempted to make us question God's Holy Word. Part of Satan's plan is to prevent us from believing in the accuracy, inerrancy, truth and inspired nature of God's Word. It's easier to look at The Bible as a story book or piece of literature rather than know the Word of God is true. Thus many people think of the Bible as a story book or a book of historical literature - therefore whether it is true or not is immaterial. Many people say they believe in some parts and not others. We know that the Bible is the true, inspired and inerrant, accurate Word of God, if part is true, all is true. If it is all true we must face the truth about our moral character. Thus, through independent research and with the goal of Scripture proving Scripture rather than relying on what man says about Scripture, this book gradually came together exploring such topics as: What God Says Statistical Proof Historical and Archeological Evidence Prophecy And finally a look at how the various versions of The Bible came about and a candid discussion of how accurate or inaccurate they are. Let Dr. West-Stellick lead you on an exciting journey that lays the foundation and then covers 3,500 years of writing, translations, discoveries and more. Authentic, Inspired, Inerrant and True will bring you to the fact based conclusion - The Bible is God's Word to us.
